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March 4 





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PANTOM I ME 



If They Only Told the Truth 

(Continued from page 1 5) 

"If you got it all down you got sumpin' you wouldn't get from no press agent. I don't think it 
will interest the public much cause we're spending a whole lot of money to guys who are writing the 
stuff the public likes, and it ain't nothin' like anything I have said " 

"You mean I have your permission to publish all this?" I gasped- 

"Go ahead, and let the fans know for once the reason for some of dese overnight stars. Give the 
boys and girls what is working hard and got de talent, and tryin' to earn dere money a chance to get 

in on de coin." 

"You're crazy. Sadie." cried Marcus. "You're all troo if that stuff's printed. 

"I'm all troo anyway." answered the star calmly. "You don't t'ink Best was kiddin maOOVt 
business holdin* him in New York, do youse? He's got another sweetie and I'm due for the skids, but 
I'm beatin' him to it." No one said anything. 

"Huh. huh." she continued. "The guv you figured I was cheatin' Best wid. Well he s the white 
haired boy in my young life. He's just been reinstated in his old job on the cops and has g t a nal 
interest in a bootleggers joint. Maybe I won't get as much publicity as I had. but I m gettin a 
guy I can love." . 

The rest in the room had already started figuring as to where they would land when the Dolores 
Dolly Productions went up. Dolores looked at them for a minute and then said: 

"Lizzie, do your duty. We're all drinkin* to George Washington, the guy who could never have 
gotten anywheres in de movies." 



If 



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'Props— the Pillar of the zMovies 



( Continued from pag< I 2 ) 



Kiss — Kiss! 
Who's Kissing Now? 

$2.°° For Everyone 
Who TelU Us 



In a motion picture studio they have jokes on 
new property men just as in a newspaper office 
where the boy is sent out for a paper stretcher 
or striped ink. One of the standard ones around 
the Paramount studio is sending a new "props" 
out after a blue polar bear. The novice is told 
that a white polar bear will not photograph well 
because of a halation, it being explained that 
blue tablecloths are always used instead of white. 
After running to ail the zoos and visiting all the 
animal trainers in the vicinity of the studio, the 
poor prop man has to return with the informa- 
tion that "there ain't no such animal." 

A prop list for a picture is made up as soon as 
the cast, for often it is as hard to find a certain 
kind of a prop as it is to find the right actor for 
one of the parts. The property man is on the 
job just as soon as the continuity is finished, and 
he is busy from that time until the picture is 
finished. 

It is literally true in motion picture making 
that there are props to the right of them — props 




Here's a contest everyone can win. 
And it's free. 

One of these pictures appears in PAN- 
TOMIME every week. 

Fill out the coupon and send it to us. 

If you're right, we'll send you $2.00. 

The correct answers will be printed in 
PANTOMIME the week following. 

You can also win $5.00. 

Get two friends to guess with you. Put 
their names and addresses on the lines 
indicated, on the coupon. 

Then have them send in their own cou- 
pons. 

If your guess is right, you'll get $5.00. 

If your friends' guesses are right, they'll 
also get $2.00 each. 

Remember, your friends must send in 
separate coupons, for themselves. 

Now fill out this coupon and send it in. 
Then look at PANTOMIME next week 
and see if you won. 

It's absolutely free. 

Now let's see how well you know them. 

Thm lips pictured last wsek worm thoM of Elliott 
Dsxtsr find CUir*- Windsor 



to the left of them —props all around them. 
Props! — without 'em there probably wouldn't 
be any movies. 

"Have a thousand spears ready tomorrow 
morning." 

That was the order of Joseph May. the noted 
European motion picture director, to his prop- 
erty man one day during the filming of "The 
Mistress of the World." the spectacular Ufa pro- 
duction which will be released soon in this 
country. 

If May had asked for rifles or revolvers, the 
property man would not have worried, as such 
weapons are still painfully plentiful in Europe. 
But spears are rather a novelty west of Suez. 

By searching diligently among the shops and 
cos turners, the property man managed to locate 
twenty pikes of various sizes. But twenty was a 
long way from a thousand. 

He was about to go to Director May and reluc- 
tantly report failure and suggest that the shoot- 
ing of the contemplated scene be held up a few 



SEND THIS TO US 

This couple is 



My name is 
My address is 
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days while the spears were being made in the 
studio carpenter shop, when a newspaper item 
cauffht his eye. A factory in a nearby city, he 
read, had just completed a large order of spears 
for the Spanish Government. These were to be 
shipped to Spain and used by Spanish soldiers 
in operations against the hill tribes in Morocco. 

When Director May learned this, he made a 
quick trip to the factory and persuaded the man- 
agement to loan him a thousand spears for two 
days. Equipment was thus provided for the 
numerous dark-skinned extras who appear as the 
African cannibal tribe. 



V olume 2 
$5.00 a year 




Number 9 
10 Cents a Copy 



Published weekly by Movie Topics. Inc.. 
1600 Broadway. New York City 
President. Murray Lazsrus: Secretary end 
Treasurer.. Albert Singer. 



MARCH 4. 1922 



"Pantomime" enured as second claae mail 
matter, under the act of March 3. 1879— 
By subecription. $5.00 the year. Canada. 
$6.00 the year, single copy lie. 



Copyright 1922 by Movie Topics. Inc. 




Heres a sort of a "White Shadows of the South Sea Isles* scene, from dainty Mary Miles Minters 
picture, "Her Winning Way" The press agent said the company went all the way to 
the South Seas to get this location — but confidentially, we have a sneaking notion 
this picture was taken at Catalina Island —just a nice ride out from 

Los Angdles. 



Page Four 



PANTOMIME 



March 4. 1922 



So I Said to the 'Press <iAgent 



By Vic and Cliff 



EDITOR'S NOTE.— Each week on this page, the editor and his chief assistant will chat on this and that, principally thai. They intend 
to express their honest convictions (never too seriously) and do not ask you to agree with them. Nor do they ask v° u particularly, to 
disagree with them. Use your own judgment. There will be some "knocks." a few "boosts" and a general attempt at fairness all around. 



- I ^ODAY may or may not mark an epoch in the motion picture industry. 
Will H. Hays deserts a cabinet post in the government of the 
x United States to accept a $150,000 post. 

Beyond the fact that the motion picture industry is going to pay his 
salary little is known of the position he is going to occupy. 

He has been referred to as coming into a position in relation to motion 
pictures similar to that occupied in baseball by Judge Kenesaw Mountain 
Landis — supreme umpire or some such thing. 

He is to head, according to the announcement, an organization of dis- 
tributors and producers. 

The press agent has been very 
vague as to what he is going to 
do, or as to what he is expected 
to do, or as to what he can hcpe 
to do. Statements congratulating 
themselves on securing his associa- 
tion and lauding Mr. Hays as a 
fine postmaster, nave been issued. 

These statements don't say 
anything. They resemble very 
strongly what press agents them- 
selves call "publicity. ' 

If he is going to be supreme 
umpire of the movies, it is time 
somebody explained where he is 
oing to get his authority from, 
line men hired him. and we ven- 
ture a guess that there are at least 
ten in the industry. 

There were two men pretty high 
in the industry who had no part 
in hiring him — which, by the way. 
brings the total up to eleven — who 
were discussing him 

"I wonder how Hays will make 
out with his new job." mused the 
first one. "McAdoo didn't ac- 
complish much and he was a cabi- 
net officer at the time the movies 
got him." 

"Well. I think Hays has a better 
chance of making a success." 
argued the second. "McAdoo 
started on a definite job. and had 
something to do. Nobody knows 
what Hays is supposed to do. so if 
he does anything, he has done 
more than anybody expects him 
to do." 

That's a pretty good expression • 
of the way the new job is regarded 
within the industry. 

We hope that it doesn't develop 
that Hays is nothing more than 
another Federal tax on motion 
pictures. 



IN THIS ISSUE 
Wild Ufa in Hollywood by Myrtle Cebhardt) Pages 24 and 25 
The Passing of a Hundred Stars 

(by Charles Gartner) Page 1 1 

This, That and the Other Thing 

(by Norma Talmadge) Page 8 

The Chicken Who Grew Real Winga 

(by J+fferson Machamer) Page 6 

More Yodelings by Eustace {By Our Office Boy) . Page 9 

The Sign of the Trident (a Novelette) Pages 18 and 19 

My First Picture 

(by Agnes Ayres and Wallace Reid) Page 20 

The Flappiest Flapper (by Dorothy Craigie) Page 7 

"Prop*," the Pillar of the Movies 

(by Donald Craig) Page 1 2 

Calcium Kisses (by Our Hollywood Hatpin) Page 14 

Beauty and a Brain an appreciation of Claire 

Windsor (by June Brad/ y) Page 22 

If They Only Told the Truth 

(by Fuller Strong Hopp) Page 1 5 

Falling into the Movies 

(by Maude Robinson Toombs) Page 22 



to let him do no more when he is sixty years old would be a punishment 
for him. 

We recall a trip made nearly a year ago when Jackie was in New York 
just at the time of the release of "The Kid." With his mother he went to 
Fox Hills hospital to do his bit in cheering up the wounded soldiers stationed 
there. 

A passenger on the ferryboat, attracted by Jackie's appeal and without 
knowing who he was. gave him an orange. Jackie asked permission to eat 
the orange. His mother said no. About five minutes later Jackie asked 

again, and Mrs. Coogan took the 
orange away from him and told 
him that unless he behaved him- 
self they would go straight home. 
Jackie subsided for he had been 
much elated when told he was 
going to play with some real 
soldiers that had been hurt "over 
there." 

If that is an example of a parent 
being dominated by a child, then 
motion pictures are a failure com- 
mercially. 

And if having a child who can 
make the income at six years 
cf Jackie Coogan is an example of 
peonage, then there should be 
a bigger demand for peon padroiej 
than there is for bootleggers. 



Me and My Kitchen (by Ruth Roland) 
Me and My Boss (by Marguerite De La Motte) 

SPECIAL FEATURES 
The Page of Cartoons (done by Fred R. Morgan) 
How They Play (Intimate Pictures of Stars) 
Big Moments in Pictures You Haven't Seen 
Just Kids (a Page of Movie Children) Page 27 

Luxury Taxes 

(A Page of Gowns Worn by Mabel Ball in) 
Outside the Studio (by Our Own Photographer) 
So I Said to the Press Agent (by the Editor*) 
Pantomime Paragraphs (by Myrtle Gebhjrdt) 
Pantomime Scenario Club 

(Conducted by Florence E. Mcfn(yre) 
Fandom Notes, Studio Jottings and Questions 

and Answers Page 30 

CONTESTS 

Our $22 ,000 Contest Page 2 

A Contest Everyone Can Win Page V 

ART 

Portrait of Marion Da vies Front Cover 

Portrait of Baby Peggy Back Cover 

Scene from "Her Winning Way" Page 3 



Page 26 
Page 28 

Page 29 

Page 5 

Pages 16 and 17 



Page 23 
Page I 3 
. Page 4 
Page 10 

Page2\ 



A metropolitan newspaper gets 
all het up over the idea that six -year-old Jackie Coogan has been quoted 
by a press agent as saying that by the time he is fifteen years old he intends 
to retire on the fortune he expects to be worth by that time. 

The editor of the newspaper says: 

"This is the logical conclusion of that silly worship of youth and all 
things young that characterize America. 

'The average American family is dominated by children. 

"This is bao for them and for everybody else. It makes them intolerant, 
selfish and disagreeable. And it reduces their parents to a state of peonage." 

That's what an editor gets for not knowing press agent "hokum" when 
he sees it. Jackie Coogan is so keen on picture work that even a threat 



Leave it to the motion picture 
boys to make a big fuss about 
something the rest of the world 
regards as useless. Ever smce 
some poet sang about "What s in 
a Name?" the tag put on anything 
has been generally accepted as 
something that doesn't amount 
to a string of paper mache tepees. 

But the poet has aang his sing 
before Eddie Polo and Universal 
mutually agreed to disagree. Ed- 
die immediately announces. — in 
fact, before it is generally known, 
that he u no longer with Univer- 
sal; he announces — that with his 
own company he will make a 
serial. "Robinson Crusoe." Uni- 
versal announces that Eddie has 
"unmade himself" in the same 
breath that it announces for re- 
lease the latter part of this month 
"The Adventures of Robinson 
Crusoe." 

It sometime* gets worse, how- 
ever. Griffith spent a lot of time 
and effort in addition to consider- 
able kale to produce "The Two 
Orphans." When completed, he 
found that the shysters of the trade had no less than four productions, all 
foreign made, which they intended to shoot out under the title of "The 
Two Orphans" to benefit through the Griffith advertising. Accordingly 
Griffith changed the title to "Orphans of the Storm." and the picture is 
just as good as it could have been under the title Dickens gave it when he 
wrote it. 

And it is reported that there are seven different productions of "Ten 
Nights in a Bar Room" in the St. Louis territory. Shades of the departed past! 

The reason all this belongs in this column is that confusion of titles 
requires much publicity to straighten them out. much publicity requires 
many press agents, and many press agents make this page. 



Our duly is sacred— for Pantomime, the mother of 
the Mooing Picture, determines the future — deter- 



mines it because Visualization is the mother of Thought. 
And Thought controls the destiny of the nation. 



Fniu,rml Ofhces: 1600 Broadway. New York 



Victor C. Olmsted, Editor-in-Chief 



March 4. 1922 



PANTOM I M EL 



Page Five 



HoU^Thqy Play 




Peggy Shaw doesn't spend all of her off 
time playing with dolls but this one walks 
and tall(s. She got it from her mother on her 
eighteenth birthday, just a few days ago. 
and she's been with it. except when she was 
wot ing. almost ever since. Baby dolls 
together, eh? 



Jack Hoxie is really playing at riding 
here, for no one would expect such a Utile 
animal to carry such a big man eery far. 
Incidentally, this might be a dandy steed 
for some of the chorus girls who try to ride in 
Central Park — no/ eery far to fall. 



Wanda Hawley probably won't like her 
art work classed as play, but the real enjoy- 
ment she gets out of it and the enthusiasm 
she has for it r sally make it that for' her. 
The critics may not get so much pleasure out 
of it - but Wanda ma es a pretty enough 
picture herself not to mind. 



Page Six 



PANTOM I ME 



March 4, 1922 



The Qhicken JVho Qrew 'Real fVings 



A FEW years ago, on the stage 
of the principal theatre in 
Hull. Yorkshire. England, a 
number of kiddies from a sing ins 
and dancing school were gathered 
in a benefit performance for charity 
The last strains of the overture 
were dead. The curtain rose and 
the director in the pit raised his 
baton and struck attention for the 
opening chorus. The first notes of 
the orchestra's introductory bar 
taxed the theatre's acoustics and 
then softened gradually to the cue 
note where the kiddies should swing 
into song: but the cue passed 
without a • hirp from the stage ! 

Again the introductory bar was 
played — and still no chirp — and 
again! The chorus of kiddies had 
forgotten what the bloomin' thing 
was all about. 

Following a slight commotion in 
the last row of the chorus, a mass ol 
golden hair was seen bobbing down- 
stage toward the director's pit. 
Emerging from the rest she pre- 
sented a winsome lot of smile, green 
eyes, cherry cheeks, and fluffy 
ruffleness. Advancing to the direc- 
tor without a semblance of shyness, 
she raised a tiny hand and bade him 
heed her. The fifth or sixth intro- 
ductory repeat stopped, and in a 
crisp voice the little girl said — 

"Go riant on and play it! / know 
it and I'll sing it alone!" 

Bearing? Nerve> Confidence> 
I should say sol ! ! 

Today, in America, less than a 
year. Dorothy Mackaill. the little 
lady of nerve, after treading Broad - 



By Jefferson Machamer 





in Paris, she embarked for these 
shores. 

Her ambitions lay in the movie 
held, the seed having been planted 
during her knockabout work in 
English and French pictures, ac- 
cording to her mother. 

At this juncture some curtains 
parted and the object of our quest 
breezed into the room. Her face 
was warm with the traditional 
English rose- bloom, but her expres- 
sion was cold —immobile. She sat 
down beside us and said. "Well?"— 
smiled a tricky, mischievous smile 
and knocked us for a row of Egyp- 
tian ice cream freezers. 

Being a bashful young man. a 
lump in our throat made us feel 
like an ostrich swallowing an orange 
whole without bothering to masti- 
cate it. and for the moment our 
tongue went limping among our 
teeth. 

"You'll have to hurry."— we were 
still chasing our tongue — "because" 
I'm appearing in 'Good Morning. 
Dearie' and I'm due at the theatre 
very shortly." she said, as we 
crawled from the ice cream freezers 
and found our tongue. 

"Wha — wha-a-a-a-a — what have 
you done since coming to America?" 
we queried, almost composed. 

"Marshall Neilan liked my pro- 
file in 'The Lotus Eater' and cast 
me for the principal feminine role 
in one of his 'Bits of Life' — then 
Johnny Hines thought 1 was quite 
representative of the American girl 
type and I p'ayed opposite him in 
seven of his Torchy comedies — a lot 




way's splintery boards, is well on her way up the greased pole of movie fame. 

Sent by the editor of PANTOMIME to secure an interview and do a 
supplementary portrait sketch from life, we stumbled into the most pleasant 
food for reminiscence we've known since we took our pen in hand and — 

So to her apartment in upper Central Park West, where she lives with 
her mother who only recently came from England. It was her mother who 
admitted us. explaining that her daughter had just reached home from the 
Charles Giblyn studio on Long Island, where she is doing an important 
part with Mother Mary Alden in he G blyn production of Nalbro Bartley's 
"A Woman's Woman.' She had motored in from the studio in her make-up 
and would see us as soon as it was removed. In the meantime her mother 
would answer questions. 

So we shot a few and unearthed the lead paragraphs to this story —the 
Hull theatre incident — as well as a note or two about Miss Mackaill's 
instruction in dramatics in London, and her subsequent appearance there 
in an important part in "Joy Belles." It was in this show, we learned, that 
Ned Wayburn spied her and advised her of more fruitful opportunities 
in America. And. heeding this advice, after an engagement at the Casino 



of people think I look like Marion Davies. do I? — and I was in the Ziegfeld 
Midnight Frolic, where I was understudy to Kathlyn Martin — and now 
I'm being directed by Charles Giblyn in 'A Woman's Woman', starring 
Mary Alden I'll be la te at the theatre unless you are through question- 
ing me!" 

"What role are you doing in 'A Woman's Woman'?" we asked. 

"Sally, and please see it and tell me what you think of it." 

And before I could ask another question she extended an invitation to 
call again and was on her way to the Globe. 

"Don't be offended. " said her mom. "She's always like that — always up 
and going and doing. She's working too hard — what with the studio all 
day and the theatre half the night. But she's so energetic — conscientious 
-like a perpetual dynamo —and so set on her star of ambition that no end 
of argument could get her to ease up." 

Then we did 30 back again — and made the sketch. Also we got three or 
four pictures. Two of 'em and the sketch are offered herewith for your 
verdict. 

The others are on our own dresser. 



March 4. 1922 



PANTOMIME 



Page Seven 



The yiappiest yiapper 



By Dorothy Craigie 

SOME persons are born to be interviewed. Others acquire the habit. 
Still others have the deadly task thrust upon them. 
To this last-named class belongs Pauline Garon. flappiest of the 
flappers — the petite bit of fluff and frills who is playing opposite that ex- 
tremely interesting young star. Richard Barthelmess. in his latest produc- 
tion. "Sonny." soon to appear on the silver sheet 

"Dear me! Must I be interviewed? And about what?" queried Miss 
Pauline, as she sat "at ease" for a few minutes in Inspiration Pictures 
studio, waiting for the call of Director \ lenry King that her nexi scene 
was to be "shot." 

"At ease" in the short skirts of the super-young thing whom Pauline 
plays in "Sonny" meant 
an extremely graceful 
perch on the end of an 
old table in a far distant 
corner of the studio 
while she dangled and 

Right—She's not yet 
eighteen — but she wants 
to play "woman of the 
world*' parts. 

Below — She says she'd 
rather play with Barthel- 
mess than anyone she 



swung her — shall we say legs? — and 
hummed to herself in the sheer ecstasy 
of a few moments' rest. For this 
motion picture game is a 
serious and an arduous 
one. even for the "peppy" 
youngsters who nil the 
studios nowadays. 





She has the role of a super-young thing in super-short shirts. 

I politely murmured something about the "public being interested in 
your career and ideas." and a silvery laugh was my first response coming 
from the swinger of the— shall we say limbs? 

"Well, why don't you ask me some questions then?" she queried in 
mock seriousness. 

"Does one have to be chic to be a chicken?" I demanded. 

The silvery laugh was forthcoming again. 

"Yes. just the same as one has to be flip to be a flapper." she came back. 
After that things went along fine. 

"You don't Took American," I informed her bluntly, hazily trying to 
place her. 

"Well. I'm not — except by adoption, of course." was the answer. "I 
was born in France, but I am a naturalized Canadian, having come to 
Canada when I was seven years old. and having lived all my life there until 
I came to this country. 

French-Canadian-American. I puzzled. 

"Oh. sort of a triple entente." I hazarded. Again the throaty laugh. 
"Yes. but no League of Nations, mind you." she answered. 

"All my life." she continued. "I have been a British subject. 1 have 
always longed for America — more particularly for New York. I came here 
a few years ago. intent on what I don't know. Merely to live here and 
see the wonderful sights. I had had ambitions to be a great artist or singer. 
Instead I landed on the stage. And I loved it. 

"I had only been in New York a few weeks when I was engaged to play 
in 'A Lonely Romeo' with Lew Fields. I have been on the stage ever since 
and now I am in motion pictures, and I love them best of all. 

"I was the little French girl with Peggy Wood in 'Buddies' and I was 
starred in 'Sonny' when it was on Broadway. But the film play is going to 
be infinitely more beautiful than the stage production. I like it better 
than any part I have ever played. I would rather play opposite Mr. Bar- 
thelmess than any man I have appeared with. 1 lis work is marvelous. 

"Just at present, too. you know I am in 'Lilies of the Field'. In addition. 
I spent two and a half years with Mr. Griffith in his productions. I have 
done the 'Power Within.' which is now being shown in motion picture 
theatres throughout the country, and I have just completed a picture with 
Owen Moore called 'Sink or Swim.' which is to be released in March. 
There you have the sum total of my career," and she ended with her cus- 
tomary laugh. 

What a voice! Such grace! I was marveling to myself, unaware that 
she was finished speaking. 

"Where did you learn such wonderful voice modulation?" I finally 
queried. 

"I suppose in the convent where I was educated," she answered diffi- 
dently. 'I was in a convent at theSaulte for seven and one-half years, and 
learned everything it is customary for a girl to learn — singing, speaking, 
elocution, a touch of dramatics, languages and English." 

"Miss Garon. what is the chief interest in your life?" was the next 
question I plied. 

Without hesitation came back the answer: "My mother. All my work, 
all my life is bent on the one object to make my dear little mother happy 
and proud of me. And I'm sure she is. She was here in New York a while 
ago, happy as a kid. We're just like chums." Oh. I wouldn't trade my 
mother for all the other honors in the world." 

"Miss Garon." came the call from the busy end of the studio, and 
with a last swing of her — shall we say pedal extremities? — she was oft 
the table. 

"Come again some time when I'm not flapping." she cooed, starting to 
run across the floor. 



Page Eight 



PANTOMIME 



March 4. 1922 



zsf Talmadge Talkie 



By Norma Talmadge 



HAMLET wasn't the only person who ever 
soliloquized, though he seems to have been 
the only person of any age. apparently, 
who had the good taste to do it in his own room. 
Nowadays, the personal chat with one's self about 
one's own affairs takes place preferably in a 'bus 
or trolley or cafe. Not that people sit and talk 
to themselves; not that. They are ostensibly 
talking to a companion who usually can't get a 
word in sidewise. 
One did yesterday. I 
»urant waiting to be 



was sitting in 
handed a menu. 



We invited Norma Talmadge to write something for 
PANTOMIME 

"But what on earth shall I write about?" she us.lt r J 
"Anything at all that strike* your fancy," we told 
her — and the ><>ll<>n ing i$ the result. It's- particularly 
interesting because it rambles on in Norma s own 
delightful way, With no particular sequence - or that 
ward so belooed by mooie writers — continuity. 




thought the girl in question was a waitress: 
she was dressed like one and paid to be one. 
But she wasn't. She was a professional solilo- 
quist. Her speech to her listening girl friend 
ran like this, while I did the waiting —for food 
"Say, 1 like service. And lots of it. Might as 
well go where you get the best, huh> —since 
the money you pay out s always the same. 
That's my motto. Where I go. now. the girl 
who shampoos my hair ain't the one who does 
my nails nor the one who marcels me. ain't 
the one who does my eyebrows. But the one 
who gives my facial's the one who shampoos 
me. Ain't that 
service, tho?" 

"It ain't." I 
said to myself 
and rose to go 



MY director and 1 wnc working over the 
' casting of a new cinema recently. We 
were hunting for an actress who would 
fit a certain part. Or rather, one who would 
walk the part, as her carriage was of the most 
importance. 

She was supposed to play a duchess, the 
lecale of the story being laid where duchesses 
moved freely in the plot. And she had to walk 
like one Some of the "movie" duchesses I 
have engaged for pictures from time to time, 
were the most splendid examples of our great 
democracy 1 have ever seen! The moment 
they walked on the set one knew they had 
never heard of Burke's Peerage or. if they had. 
would ask if it had a happy ending. Now my 
director and 1 agreed that this one must have 
a royal walk 

We sent a group of ambitious "extras" into 
a corner out of the way of some cleaning 
■ men who had appeared, and started out 
quest. What wc 
saw was what 
you might see 
on Fifth Avenue 
any afternoon. 

or on Main Street in Oshkosh. Michigan, for 
women's walks have naught to do with mak- 
ing a successful movie actress. Some of the 
women strutted, some slunk. Some used a 
Carmen swagger which the director pointed 
out was. for a prospective duchess, all wrong. 

Suddenly, back of a thin screen behind 
which a powerful light played, a woman's 
figure moved in silhouette. Head and shoul- 
ders were erect. The body moved with 
majestic ease and poise. "There's our duch- 
ess. Miss Talmadge." the director cried 
"Someone call her from behind the screen " 
It was one of the scrubwomen, pail in hand, 
on her way to mop up the floor! Superbly 
sh* walked by ua, treading the studio canvas as though it were a 
marble floor. 






PRETENDING is my profession, as it is of every actress. In one 
film 1 pretend 1 am a daughter of the underworld. In another. I am 
the smart wife of a New York banker. In a third I must persuade 
myself I am the gay-hearted child of an Irish gentleman. My success with 
critics and public depends upon my ability to make these pretenses seem 
real. To make them seem real not only to myself but to others. 

I came to the studio the other day discouraged over a new role. 1 couldn't 
pretend it to suit myself. "It doesn't come, somehow- -that character." 
1 said to my mother. "Pretend harder." she advised. "Pretend the way 



you and Constance used to when you were 
children. Pretend with all your soul, the way 
you used to when you were Mary Queen of Scots 
in one of my old dresses and the children of the 
neighborhood had to pay six pins to see you — 
Look." she interrupted. 

The youngest electrician's youngest daughter, 
aged five, was playing by herself in the dark cor- 
ner of an empty set. A piece of colored cheese- 
cloth fell from her head to the floor, trailing 
behind her tiny feet like a train. She strutted 
proudly. "Who are vou pretending to be, dear >" 
I'M not pretending." she said loftily. "I 
AM a princess " 

"I believe you." I admitted gravely. "And 
thanks for your advice on my new role 
Mother, good actresses and children don't 
merely pretend. They actually believe!" 

mom 

MR. AND MRS." are Everyman and 
Everywoman after they settle down 
Alao every robin and his wife. I dis- 
covered after an hour in a cherry-tree at m\ 
summer home at Bayside. Long Island 

The chemc* 
being ripe in 
the orchard 
Constance and I 
suggested pick 

ing them. Peg - we always call mother b) 
her first name —dreaming of cherry pie. said. 
"Do. dears." immediately, and even told us 
where the gardener had left the ladders. That 
meant we had to! 

Our arrival at the trees persuaded a Mrs. 
Robin, living near by, of an imminent cherry 
shortage, so Mrs. called Mr from the hedge 
"Henry." she chirped, "for pity's sake look at 
those creatures in our tree. Scare them out! 
Obediently Mr. Robin flew at us. squawking 
fiercely. Then, when we waved to him. and 
went right on picking, he flew to Mrs. and 
twittered. "It's no use. my dear, these per- 
sons are shockingly bad mannered. I told 
them it was our tree and they merely laughed 
What can a chap do with people like that?" 

"He might try scaring them a^ain." Mrs. 
chirped acidly. There followed another 
swoop at us and another terrified squawk. 

"I threatened them, this time, and saw the 
little dark one shake. Come inside, dearest. 
They'll leave shortly." "Yes." shrilled Mrs. 
Robin, "and our 
cherries with 
them. At them 
again. Henry if 
you're the man 
you say you are. Heavens! There's many 
a robin I might have married who - 
I Ienry! They've got a pailful now!" 

He flew at ua again, desperately this time 
Then he retreated to his hedge to scold and 
swagger. Occasionally, he yelled to his wife 
not to worry: that he'd fix us in a minute 
But with a contemptuous flirt of her tail she 
flew off. disgusted. 

"Connie." I said laughingly, "allow me to 
introduce you to the eternal 'Mr. and Mrs.' " 
m m m 

1 DON'T suppose any page could ever be 
complete if written by a new resident of 
Los Angeles if it did not contain a glowing 
eulogy of California. We have found it 

delightful, but are really apprehensive about what will happen after we 
have been here a few weeks. You know in the East the weather furnishes 
considerable casual conversation it is a safe subject to discuss with anyone 
you chance to meet. 

In California you are deprived of the weather as something to talk about 
Delightful days succeed delightful days and therefore it is taken as a matter 
of course and never mentioned. At preaent we get along nicely as we can 
use our impressions of the country— being new residents — as a thing to fill 
in conversations. Soon, however, we will be old-timers and then what 
can we say to the host of strangers one is hound to meet? 

I lowever. that is something that can wait, and in the meantime. Connie 
and I are over at the Ken tons spending every available minute with 
Natalie, just as busy as prospective aunts can be. 




March 4. 1922 



PANTOMIME 



Page Nine 



J)(tore Todelings by 8ustace 



MEMBER 1 tole yuh I wuz agoin' to tell 
about dc time \ went out to put on de 
feed bag in one o' dem Frenchy eatin' 
places > It wuz de day we moved. We all 
woiked late and de Boat giv me my supper money. 

He must 'uv felt awful good like, 'cause he 
handed me a two case note. Mebby he made a 
mistake. But I never makes a peep and beats 
it out de office 

So I ambles up de street near our new office — 
lamps a resterant wid a Frenchy lookin' name on 
a 'lectnc sign across de way -an' eases myself 
over and into de place. 

Gee! It wuz funny lookin' to me. Lots o* 
little tables Not much light • l^ots o' cigarette 
smoke— mostly from women. A lady at a 
pianner and a fiddler makin' a lot o' iarz music 
wot yuh could hardly hear 'count all de noise 
All de peepul wuz talkin' at once and all de dishes 
rattlin" 



Stars in the $22,000 Race 



Name 

C REICHMAN. New 

J. A. Kuher. Montello. Mtu. 

J Ki.schdi. New Vo.k < m\ 

L Rumpakia. Portland. Ore 

B. W. Simt. K-naacola. Fla 

J. P. Oppaaheim. New Yo.k City 

r. Apppn. Scianton. Pa. 

Keb*cca Adams. Joli.l. III. 

B. A I m Is. Cullman. Ala. 
J. Atkins. Rockfoid. Ill 
Ooia Biendorff. Omaha. Neb. 
J. Blatnik. Cleveland. O 

C. W. Boatic. Cieenwood S C 
F. Baca. St. L->»ie. Mo. 

P. O. J Beekraan. New Y*o.k City 
A Buba. Braidock. Pa. 

F. Burpee. Sptingfi.ld. Maaa. 
Etfel Campbell. Uore.aville. N Y 
Hwlan Cauoll. £diabtiig. Tea. 

C. L. Ch'iatia.ieen. Ft. Wadawo.th N. Y. 
A.me Co.nite. Newatk. N. I. 
E. B I i. i II Richmond. Vi. 
P. I. CI; n.tiom, Mobil? Ala 
M. Ca n.uack. Nswton. la. 

G. 1>j Vfyoo. Det.oit. Muh 
Ai.ia Ojan. Chicago. (II. 

£. L>:s,ing. Abaideen Wash 
C \) Aurora. Ind. 
Jaunita Eyer. Chicago. III. 
C. E»tep. H jntington Beach. Cal. 
A. V. Evana. Ftanklin. Ohio 
Mild.ed Fagan. Shelbyville. 111. 
Beitha M. Ferguaon. Claikavilk. Tcnn 
O. Guerin. Ottawa. Ont. 
A. G. Ganoung. Olean. N Y. 
J. Gaiaa. Cleveland. O. 

H. H. Glidden. Quantico. Va. 
Louiae Hammock. Kanova. W Va 
W. K. HobliU*ll. Sometaet. Pa. 
Mad .-line Hoeh. Biookiyn. N. Y. 
Grace Holt. Leavenwoith. Kan. 
H. C. Honan. Ockley. Ind 

Susie H. Horn. Rochester. N Y. 
Eva B. Hamilton. Providence. R.I. 
k I. Harria, Kanaaa City. Mo. 
B Hickey. Alton Park. Tenn. 
J. A. Hyder. Spaitanbutg. S. C. . 
M<s. B. L. Henderaon. Hopkinaville. Ky.. 
A. C. Irvtn. Paria. Tenn. 
R. Johnson. Kanaaa City. Mo. 
C. F< Jacob. Chicago. III. 
Anne Jennings. Portland. Ore. 



G Jb.Tph. Alameda. Cal 
jCaS K ibick. New Bedf. 
M. R. K?aton. Ho jaron. Tex 



ord. Ma 



L. M. Ki.iaey. lender. Wyo. 
J. Kaachoreck. Chicago. III. 
P. Q. LrJbettei. Molina. 111. 
E Lo /c. Cmcago. III. 
V. Litnun E. Pal as tine. O 
J. W. Martin. Fairmont. W. Va. 
O. Mcliuvrs. Lsjiinbtttg. N. C. 
Miss V. McLeugnlin. Ottawa Ont. 
A. Maicum. Norton. Va. . . . 
Miss Lucille Moniez. Pakin. III. 
El ma Manaon. St. loeeph. Mo. 
H. M > >><• Albion. Neb. 
R. Norman. M >ultrie. Ga. 
W Nuiton. Fall River. Mass 
J. H. O'Nsill. Roma. N. Y. 
L. W. P.aiiie. Glens Falls. N Y. 
G. H. Pickftt. San Diego. Cal. 
J, E Pe.ry. Lawton. Okla. 
Mabjl Pearce. Poplar Bluff. Mo. 
Mis. J. S. Renco. St. Louis, Mo. 
R. E. K Hillsboio. Ohio 

V. L. Rommall. Pasadena. Cal. 
Mary Schulman. Baltimoie. Md. 
H C. Schumaid. Dodge City. Kan 
M. Simmons. Toronto. Ont. 
Eleanoi Small. Washington. D C. 
Maijorie Small. Waahington. D. C. 
C. D Suthetland. Clincnoo. Va. 
W. A. Simpson. Omaha. Neb. 
W. B. Sprague. Freeport. III. 



Vout 

«K>90 
6000 
3000 
2000 
1030 
120 
30 
30 
30 
30 
30 
30 
30 
30 
30 
30 
30 
30 
30 
30 
30 
30 
30 
30 
30 
30 
30 
30 
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30 
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30 
30 
30 
30 
30 
30 
30 
30 
30 
30 
30 
JU 
30 
30 
30 
30 
30 
30 
30 
30 
30 
30 
*0 
30 
30 
30 
30 
30 
30 
10 
30 
30 
30 
10 
30 
30 
30 
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30 
30 
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By Our Office Boy 

But dey got plenty quiet when a little doll 
comes out wearin' furtkfr tights, and nothin' else 
much but a smile. Dis doll leaps up on top of de 
piano, hugs her knees, an' starts singin*. I ler 

Eicture'a down at de bottom of de page. You kin 
•ok her over fer yerself. She almost made me 
fergit me appetite. 

She wasn't doin' it fer jack, neither. Her name 
is Josephine [{ill. I learns, an' she works fer 
Christie studios, out in Hollywood. Her hoppin' 
on de piano in all dem fur clothes wuz just a 
press agent stunt. Dey're always pullin' some- 
thin' like that around here. 

Anyhow. I slips me lid into me pocket, and 
plants me feet under a little table by de wall wot 
wuz nearest to me. Nobody seemed to see me 
fer a helluva time. Den finally a waiter guy 
comes over, an' says. "Wotcha want>" rough like. 
"I wanna put on de feed bag." I says. 
"Yuh can't do it here." says he. "Beat it fer 
de ham-an'-beans house up to de .corner.'* 

I made up me mind dat guy weren't goin' to 
gimme no bum's rush outta eatin' in dat place 
1 digs down in me pocket and hauls out de Boss's 
two-case note and Mashes it. to show him I could 
pay fer his old dinner -an' rite away yuh should 
a' seen him git nicer'n pie. It sure is funny how 
money talks. So he brings me a glass o' water — 
some bread wot wuz cut slantin' n' a little square 
piece o' butter and den hustles off fer de real 
grub. 

He wuz back in a jiffy wid a plate on wot wuz 
half a egg wid a piece o' termatter and a slice o' 
sump ft else wot I didn't know, covered up wid 
a lot o sauce. It didn't look like much, but 
honest -to-God. it tasted fine. Den he brung a 
great big bowl o' soup. Cee! Some soup! They 
wuz all kinds o' beans in it an' all sizes o' peas 
1 fills me bowl twice. 

Next he cum trot I in' out a platter wid a 
coupla slices o' meat and sum smashed taters. 
wot I didn't care none bout, 'cause it tasted like 
wot 1 gits at home. "I knew it wuz too good to 
last.'' I says to myself. "I'm stung." So I jest 
messed the stuff up so they couldn't pass it off 
on nobodv »■!■•«■ I didn't eat none. 



De waiter guy sees I don't eat none, and takes 
it away. I'm gettin' ready to leave, darn good 
and sore, when he comes back an' plumps down 
a big platter full o chicken, all dressed up wid 
a white paper collar 'round a leg wot wuz st'ickin' 
up. an' a dish o' aspergrass an' a dish o' lettice. 

De sight o' dat chicken took away all my mad. 
Boyl Don't ask me none how 1 liked it. 
I didn't look up none from me plate till dere wuz 
nuttin' left but de bones. 

Den I pushes back me plate, straightens up 
kinder, and feels so stuffed full 1 haster open up 
me belt and ease off me stummick a bit 

And just den when I wuz feelin' satisfied like 
an' thin kin' wot a nice place de ole woild wuz 
after all and how sweet de music sounded, an' 
lookin' all roun' me. over comes a peachy dame 
wot had been setlin' at a table wid a bunch o' 
swells and scz. "Ain'tche frum PANTOMIME?'' 
I sez: "Yep." and she sez: 

"Oh. ain't that grand? Will yuh do us a faver 
an' giv' us a tip on some inside way to cop off a 
lot uv votes fer dat dere conte t yer runnin'? 

She musta taken me for de Bos . So I swelled 
up an' looked real serious like, yuh know, like dc 
Boss does (only dat's a bluff wid him), an' I say* 
"Lady." sez I. "bein* on de inside can't give yuh 
no info 'cept this: Everybody wot gits in de race 
can git a five-doller gold piece fer send in' in 
thirty dollers' worth of subscriptions before 
April 8th. De Reader's Coupons c unts up fast 
too. Dey brings thirty votes each and all any 
body has to do. if dey wants to git in de race, is 
send in one o' dem Reader's Coupons wot's in de 
fir t page o* PANTOMIME Dem wot gits 
de most votes also gits automobiles — six of 'em 
Also ninety-six funnygrafs. 

She looked like she though that'd be work 
and den I says, like I heard de Boss tell em 
"Anybody oughter be able to git a thousand 
votes — dat's only one six months' subscription- - 
and anybody's friend would easy give 'em dat 
much. Dey gits t'ree t'cusand votes fer a year's 
subscription. Gee! It's a cinch -an' dey's only 
a few after dem prizes, too! 

Den dat dame tries to vamp me. Honest. 
But I'm a twenty-minnit egg. and t'ick-skinned 
an' de dame wot kin vamp me ain't bin borned 
yit. She says a mouthful o' sweet woids but dey 
don't mean nothin' to yours truly an' pretty soon 
her gang yells fer her to come over to her tab!- 
an' she leaves me. sayin' she'll see me later 

You know it's funny to see how some peepul 
gits along in this woild- -how they gits anybody 
to do anything fer im 

You take de guy wot looks after de subscript n 
race. He's de most onriest. cussedest gink wot 
ever wuz. And he's ot de nicest voil lookin' 
after things fer 'im. Fer nuttin' atall he rats at 
her. Wot you s'pose he says to her t'other 
mornin'? Tole her it wuz all her fault they am ' 
as many people tryin' to git the hundred prizes 
as they is prizes— and if she don't rite her letter* 
hetter. he's goin' to git somebod t else wot can 
make em git in de game. 

(Continued on Paf 2B) 





Page Ten 



PANTOMIME 



March 4. 1922 



•Mom 



M 




Mary Miles Minter is find- 
ing life a $*ries of upt 
and down*. 



Syfyrth Gebhart 

f AKY and Doug plan to return to New 
York for about three week*, to attend 
a lawsuit and arrange business matters 
pertaining to Doug's next picture. Mary hopes 
yet to film a picture abroad. 

"But it won t be a desert picture," says she 
ruefully. "My dreams of the desert are shat- 
tered. There aren't any romantic Arabs. May- 
be the good-looking ones of romance have all 
died off If I could get a Sheik with trading 
stamps. I'd pass him up." 

Mary and her camel didn't get along well. He 
'rocked the boat" so that she became "seasick." 

"Life." sighs Mary 
Miles Minter. as she 
starts on another jour- 
ney down the well-shaft, 
"is a series of ups and 
downs." She has been 
playing elevator in a 
well for a part in "The 
I leart Specialist." and 
has been thrown down 
the shaft sixty times so 
far. "Ding-dong bell. 
Rover's down the well." 
I sang gleefully. But 
M. M. M couldn't see 
the joke 

You can fly without 
danger at the I ial Roach studios now. Yesterday 
I did a little Eva through the clouds -safely 
anchored to a cable-line The cable tramway for 
airplanes is 150 feet high and 200 feet long and 
carries over six tons, which was adequate allow- 
ance for Snub Pollard and me. Look for some 
a tr -comedies soon. ^^^^ 

Teddy, the famous dog star who was injured 
in a fall from a tree, is rapidly recovering. 

I lelen Ferguson is back with Dave Butler's 
company from Tehachapi. with a laurel wreath 
won in a faTr fight with the town's bully, who was 
kicking a yellow mongrel dog belonging to a kid 
Helen stood it as Ions as she could and then. she 
sailed in and gave the bully a good trimming 
The kids gave her a parade. 

"Marie Mosquini. all 
decked out in crown and 
robes of rdyalty which 
she wears in Snub Pol- 
lard's Oriental comedy, 
was lunching at a restau- 
rant in Culver City fre- 
quented by extras from 
other studios. Behind 
Marie trailed four gen- 
tlemen — Marie is one of 
those young ladies who 
can't shake their persis- 
tent cavaliers, no matter 
how weakly they try. 

"Bet she's a leading- 
lady." offered an extra 
at a nearby table 
"Nope, even if she is all dolled up like a Christ 
mas tree said another "She's eating with four 
men. Leadm* ladies eat alone She's an extra!" 

Jack Mulhall was born in Wappinger's Falls, 
a small, exceedingly small, town in New York. 
His youth was largely occupied in such occupa- 
tions as "hooking" apples, snowballing the town 
deacons and putting salt in the ice cream intended 
for Sunday School socials. Recently he* met a 
friend of his childhood. Helen Dryden. famous 
artist and sculptor. 

"They're very proud of you in Wappinger's 
Falls." she informed Jack. "You'll get a great 
reception if you ever go back." 

"Reception is right!" retorted Jack. "Unless 
sll the old-timers are dead I 'll need a suit of mail 
and a flock of lawyers!" 




7 hey SJSfS «ur« Mar it Mom- 
quini was just an extra. 




Jack Dempsey says he isn't going to marry 
Bebe Daniels. So there! Though he does think 
she's "a wonderful girl and all that sort of thing " 

'Twas much-ado-about-soup at Universal the 
other day. Lloyd Ingraham. directing Gladys 
Walton in "Second Hand Rose." insisted that 
real soup be cooking over the gas burner, neither 
too hot nor too cold. Had it been too hot the 
density of the steam would have hindered the 
photography and if it hadn't been hot enough, it 
wouldn't have photographed naturally. Nobody 
seemed inclined to offer me any of the soup, so 
I left. The temperature of soup does not excite 
me unless I am invited to partake of it 

Wallie Reid's mother is visiting him and his 
lovely wife and boy. 

Frank Mayo will have to "tell it to the judge." 
For Frank was stepping on it to the tune of forty 
miles an hour when a speed cop happened along. 

''But I've got to get to town." said Frank. 
"My wife is going to call me on the telephone 
from New York." 

"Costs a Ut to chatter across the continent." 
mused the cop. "Guess I'll keep you here long 
enough so you'll miss the call and save all that 
money." 

And he did. 

Bull Montana has a rival! Handsome Jack 
Gilbert has a "cauliflower" nose When motor- 
ing past the Ambassador golf links, his nose and 
a stray ball collided. And now. if you want to 
pick a fight with Jack, yell "Fore." 

Mary Pickford and her mother are preparing 
plans for a new home which Mrs Pickford will 
build here. 

Rumor here has it that Cecil B. De Mille will 
direct Pola Negri, when she arrives here to warm 
up the Lasky lot. 

Madge Bellamy. Thomas H. Ince's latest "dis- 
covery, "finished her last scene with Douglas Mac- 
Lean in "The Hottentot" and walked over to the 
next stage, discarded her silvery evening gown 
for a quaint purple and gold tight- bod iced, bil- 
lowv skirted "antique" dress and plunged into 
work for "Lorna Doone." which Maurice Tour- 
neur is producing. 

Yesterday her arms were bruised from the 
"rough" scenes where"'Lorna" is forced to marry 
—and her mother tells me she woke up in the 
middle of the night crying, the scene was so real- 
istic in her memory. I'm getting worried about 
Madge. She works too hard, takes herself too 
seriously. What she needs is a sweetheart, but 
she can't "see'* the men at all. Mother and home 
and work, that's all. Mr. Ince is planning big 
things for her. 

I was perfectly shocked on the Guy Bates Post 
"set" today. Post has introduced Hawaiian 
music in the filming of "The Masquerader" to 
lure his emotional expression —and now every- 
body is doing the hula. Everybody except Post, 
that is. And me. I ncvsr shimmy. ... in 
the studios. 

Hous-i Peters. Virginia Valli and their com- 
pany with Reginald Barker, director, got snow- 
bound at Big Bear 1-ake. They wirelessed for 
help and the chief engineer of Universal went to 
their rescue with a ten-ton generator truck, 
loaded with provisions. 



The Hal Roach studio was standing on its 
head the other day and going through all its 
repertoire of tricks — for the amusement of a 
young gentleman aged four weeks. Gaylord 
Harold Lloyd, who seemed terribly bored by the 
folks' antics. It was his first visit to the studio 
on the arm of proud papa Gaylord and he hasn't 
yet expressed his opinion of the film-industry 

George Melford has returned from New York 
and will commence soon on "The Cat That 
Walked Alone," which I consider a poor title for 
a Dorothy Dalton picture. 

Tom Moore has signed 
up with Famous Players- 
Lasky to play in the 
next Penrhyn Stanlaw.* 
picture starring Betty 
Compson. Mr. Stan- 
laws has completed the 
most important thing 
about the picture. No. 
the camera hasn't started 
"shooting." He has 
merely changed the name 
from "She of the Triple 
Chevron." which its 
papa. Sir Gilbert Parker, 
christened it. to "Over 
the Border " Mr. Stan- 
laws now feels free to 1 

engage his mind with the direction of the picture 
Moore plays the role of Sergt. Tom Flathery 
(guess his nationality!) and will be called upon 
to do a number of athletic stunts Betty Comp- 
son has been taking snow-shoe lessons over the 
sands at the beach! It is more than likely that 
Moore will sign a long-term contract with Lasky 




Tom M^orc ha* signed up to 
play opposite Betty Compson. 



"Beanie" Walker, of Harold Lloyd's company, 
is going to be an old maid. I just know. He's 
always bringing in stray cats. The other day he 
augmented the studio's "personnel" with a 
Maltese and her five children. "Beanie" spends 
forty cents daily on cat menus. I'll know where 
to go next time I get hungry Though, to be sure, 
that's a perpetual state with me 

When Wallace Reid 
finishes speeding "Across 
the Continent" in his 
six-cylinder Byron Mor 
gan play, he will film 
Richard Harding Davis' 
"The Dictator." in 
which Willie Collier 
starred on the stage 
Can't you just imagine 
Wallie "dictating" with 
those irresistible eye 
brows of his> He gave 
them a rest and used his 
fists in "The World's 
Champion." and speeds w 
with his foot on the ac- 
celerator in "Across the 
Continent" — so I vote we ladies hold a house- 
warming to welcome his eyebrows back again. 

Jack Holt is doing another role guaranteed to 
cause any number of other fellows to "Go West, 
young man." in his new story. "VaJ of Paradise." 

Dorothy Arzner, film editor in the Realart 
division of Famous Players Lasky. reached home 
late one night, finding her mother absent and 
burglars present. 

"Get out of here!" said plucky Dorothy. "And 
make it snappy!" 

The men obeyed without loss of time. When 
she looked around. Dorothy found that they had 
taken about a thousand dollars' worth of 
jewelry Now she's wondering if she didn't 
"cut the scene" too soon. "Maybe I could have 
'changed the continuity of the climax ." she 
says ruefully, "and saved my treasures." 




Jlie Reid .. 7 soon start on 
Richa'd Harding fJaus 
"Th* Dictator 



March 4, 1922 



PANTOMIME 



Page Eleven 



The Massing of a Hundred Stars 



THE fickleness of the movie fan is the bane 
of the movie actor's existence. One day 
might find a movie star a country- wide 
favorite. One month later this same star is 
liable to find himself supplanted by another. 

The trouble is that the average movie fan goes 
to the theatre so often that he is apt to forget 
all about a picture —unless it U) an extraordinary 



By Charles L. Gartner 

Herbert Bosworth, Pauline Frederick and George 
Beban. Of these, only John Barrymore, House 
Peters. William Farnum, Dust in Farnum. Hobart 
Bosworth and Pauline Frederick remain in the 
memory of the present-day movie fan. 

Names unfamiliar to the present generation, 
but which meant crowded theatres in those days 
are. Henry Dixie. Charlotte Jve.v Jane Grey. 




A scene jrom Queen Elizabeth, * fjrodtucd in I VI 2 and the n*r>7 fol 
The star is Sarah BtintiartH 

one -that he has seen but a few days previous. 
This tendency on the part of the movie goers of 
changing their support from one star to another 
has been especially prevalent during the last 
two years. In this period of time there have 
been more stars made- -and displaced — than at 
any other period in the whole history of the 
motion picture industry. 

It would be interesting to look back upon some 
of the first stars of the screen to see how many 
of them are remembered or known. 

The Famous Players Film Company was or- 
ganized in 1912 and its first picture starred none 
other than the great Sarah Bernhardt in a pu 
tunzation of one of her greatest stage successes 
"Queen Elizabeth." The enormous success of 
this production prompted the producer to pursue 
the same policy of famous stars in famous plays 
or stories and the next feature to be released was 
"The Prisoner of Zenda." starring James K 
Hackett. 

Next came Mrs. Fiske in "Teas of the D'Urbei 
villes." Some old-timers may recall the sensa 
tion this production made Then came a sent - 
of pictures starring Mary Pickford, that brought 
her the name of "The Sweetheart of the World ' 
The first of these was "Caprice." and was fol 
lowed by "Hearts Adrift" and "A Good Little 
Devil." It was in this latter production that 
the double exposure was first used to good advan- 
tage 

Going farther down the list we find the follow 
ing old-time favorites: Lillie Langtry. Lam ■ 
Sawyer. James O'Neill. Charlotte Nillaon. Cyril 
Scott. John Barrymore. House Peters, nnci 
William and Dustin Farnum. Gaby Desiy* 
Arnold Daly, Bruce McRae. Hazel Pawn. 
Carlisle Blackwell. Paul McAllister. William 
Courtleigh. Cecilia Loftus. Edward Abeles. 
Edmund Breese, Max Figman. Robert Edeson. 



, ',-r ru t n\u>lc 



Kathleen Emerson. Edith Wynne Mathison. 
Alice Dovey. Winifred Kingston and Wallace 
Eddinger. 

Other names more familiar are H. B. Warner. 
Henrietta Crossman. Bertha Kali ah, Sessue 
Hayakawa. Macklyn Arbuckle. Charles Rich- 
man. Gladys Hanson. Tyrone Power. Theodore 
Roberts. Adele Farrington. Bessie Barriscale 
Marguerite Clark. Marie Doro. Edith Taliaferro. 
Blanche Sweet. Marshall Neilan (the same man 
who is now a director). W. H. Crane and Elsie 
Jan is. 

Wallace Reid should also be included in this 
list but it is interesting to note separately that 
for a number of pictures he was starred opposite 
Cleo Ridgely. Kathlyn Williams. Myrtle Sted 
man and Anita King. 

Some of the other then prominent Thespians, 
a few of whom have dropped into obscurity. wh<> 
appeared in the early Paramount pictures, are. 
Fritzi ScherT. Rita Jolivet. Victor Moore. Tom 
Moore. Viola Dana. Ina Claire. Laura Hope 
Crews. Violet Heming. Lenore Ulric. Sam Bei 
nard. Fannie Ward. George Fawcett. Lou Telle- 
gen. Donald Brian. Charles Cherry. Gerald i M 
Farrar. Valeska Suratt. Constance Collier. Anna 
Held. Florence Rockwell. Mae Murray. Valen- 
tine Grant. Peggy Hyland. Owen Moore. Jack 
Pickford. Louise Huff. Vivian Martin. Ann Penn- 
ington. Frank Mclntyre. Thomas Holding. Irene 
Fenwick. Douglas Fairbanks. Dorothy Gish. 
Lillian Gish. Enid Bennett. Charles Ray. Mar- 
garet Illington. Olga Petrova. George M. Cohan 
and Julian Eltinge. Lina Cavalieri, Fred Stone, 
Enrico Caruso. Shirley Mason and Billie Burke 

Present day stars occupy an enviable position 
now. How long they will continue to sparkle 
depends upon the public, for in a short ten years 
hundreds have had their day and have been 
forgotten. 




A scene from "The Prisoner of Zenda." the second bi$ movie made. This uas also produced in 

1912 and starred James K. Hackett. 



Page Twelve 



PANTOM I ME 



March 4, 1922 



'Props — the Pillar of the JMcfties 



ALTHOUGH little is heard of the property 
/A man, who gathers the moveable back- 
ground for pictures, he is the power behind 
the camera. Without him the director would 
have many difficulties and the scenario writer 
would have his hands tied. "Say It with Props." 
is an old slogan around the big studios in Holly- 
wood and it it a fundamental one in motion pic- 
ture making. 

Props make the foundation for successful 
motion pictures, according to Cecil B. De Mille. 



By Donald Craig 

props the scenario writer is able to cut down the 
use of sub- titles to a minimum. 

In "If You Believe It. It's So." Thomas 
Meighan's recent picture. Waldemar Young, the 
scenarist, wanted to get over to the audience the 
change of fortune of a couple" of crooks. He did 
it by the use of a prop cigarette butt and much 
more effectively than with a sub-title. The 
crooks are shown in the back room of a certain 
saloon where they had been seen previously in a 
prosperous condition. They are down and out 
and the fact that they 
are poverty stricken is 
shown graphically 
when, in the midst of a 
conversation, one of 
them reaches over to 
an ash tray, picks up a 
half smoked cigarette 
lights it. 

What more 
does an audience 
need to know 
about the condi- 
tion of the men 
than that which 
was shown by 




This leopard helped to make Cecil B. De Mille famous. 



director-general of Paramount pictures. It is 
with these articles of property called "props." for 
short, in movie parlance, that many subtitles 
and unusual situations are registered on the 
screen. 

Symbolism can be shown on the screen by the 
use of a prop better than in any other way. 

Props serve many purposes. They may be 
symbols for emotion, substitutes for sub- titles, 
or instruments of romance. A striking example 
of how the romance of a story was carried -through 
the picture by the use of props occurred in 
"Cappy Ricks." a Paramount picture made from 
Peter B. Kyne's famous stories of the sea with 
Thomas Meighan in the star part. In the picture 
the love clement is developed by the use of a 
prop half dollar and a heart-shaped tag. 

Early in the story there is a scene in which 
Meighan. as the rough sailor, spends his last half 
dollar for a tag for a sailor's home benefit. Aynes 
Ay res is the young lady who sells the tag. With 
the tag went her heart to the big. good-natured 
sailor, who also lost his heart with his last half 
dollar. 

With this exchange of affection the two parted, 
but the love interest in the picture was sustained 
throughout by frequent reference to the prop 
half dollar and the heart-shaped tag. The two 
characters did not need to be together for the 
people in the audience to know that love was 
developing. The dollar and the tag took care of 
ail that. . 

It has been said that the ideal photoplay is the 
one without sub-tides. This form of motion 
picture has been tried but never has been 
entirely successful. However, by the use of 



burglar's kit always identifies the thief. Every 
standard character in motion pictures has his 
character prop like the doctor, who carries the 
little black bag; the lawyer with a brief case, and 
the reporter with a notebook. 

The above props all come under the category 
of "hand props," but these are not all. The fur- 
nishings of a room come under the classification 
of properties and then there are the live props — 
dogs, cats, rabbits, monkeys, snakes, alligators 
and all kinds of animals and reptiles. 

Many interesting experiences are related by 
the property men who have had to secure live 
props for pictures. During the making of the 
"Sins of Rozanne." a Paramount picture, some 
time ago the property man was called upon to 
get a snake for use in a symbolic scene where the 
snake was to turn into a string of diamonds. It 
was necessary to turn this snake a certain way, 
and in order to do this the snake was frozen. The 
frozen snake was placed on the carpet and care- 
fully fixed. Then the cameraman had to wait 
until the snake thawed out enough to register 
movement. 

In "The Great Moment." one of Gloria Swan- 
son's pictures, one of the important props was a 
snake. It took quite a bit of judicious handling 



1 



the use of the cigar- 
ette? A sub- title would 
be extraneous. 

By the use of props 
emotion is often regis- 
tered. For instance, a 
mother can show her 
love or sorrow for her 
son just by picking up 
a photograph and hold- 
ing it in her hands. An 
actor or actress is al- 
ways able to get over 
an emotion by use of 
some prop that can be 
handled. Directors 
have found that action 
can be registered by 
players better when 
they have something to 
do with their hands, 
and they generally 
manage to figure on 
some prop to fill the 
bill. The breaking of a 
twig may be used to 

show nervousness or the chewing of a cigar may 
indicate any one of a half dozen emotions. 

Theodore Roberts, the veteran character 
actor, perhaps is the best exponent of the use of 
the prop cigar on the screen today. He can do 
anything with a cigar, as every motion picture 
devotee knows. 

The most common prop used, of course, is 
the character prop. Jewels always signify 
wealth; an old wallet gives the idea of age. and a 




A heart-shaped tat a half dollar are important. 



to get the reptile to perform for the camera. 

A leopard was the most conspicuous live prop 
used in Cecil B. De Mille's "The Affairs of Ana- 
tol." In "Fool's Paradise," a more recent De 
Mille production, crocodiles were used. The 
property men are not keen for live props because 
they are a terrible bother. They have to be fed 
and taken care of and in many instances they 
are dangerous to handle. 

(Continued on page %W 2) 



March 4, 1922 



PANTOMIME 



Raymond XfcKee has 
ambitions to be recognized 
at a hip builder and is 
putting together a yacht. 
It isn't intended to go near 
the water but will be used 
by Raymond as his sum- 
mer home on a location 
he owns in the mountains. 
Jawn. his dog. and Joe. 
the monkey, will be the 
full crew. 




Outside The Studio 



Page Thirteen 



Below. Lloyd Hamilton 
claims that motion pic- 
tures never di I do justice 
to his real beauty so Irene 
Dalton volunteered to act 
as cameraman for a por- 
trait that he could send 
home to his friends. We 
don't wonder that no di- 
rector would lei Lloyd as- 
sume such a pose inside a 
studio. 




Bill Duncan. Larry 
Semon and Edith John- 
son got together for a little 
chat on the steps of the 
studio the other day. Bill 
annexed Larry's trick 
derby, and h and Edith 
both seem rather pleased 
with th result. Larry 
doesn't seem to be tickled. 
Mebbe he's afraid Bill 
will quit playing the lover 
and doing dare-devil 
stunts, and turn to comedy. 






Constance Binney spends much of her time outside the studio in 
training her pedigreed Russian wolfhound Ivan. The Teddy Bear 
in the picture is the only playmate Ivan has any use for and he 
treats it as carefully as if it were actually alive. 



Erich von Stroheim has mooed his film-cutting room outside his 
studio. He declares he can much better appreciate the picture 
value of takes on his roof garden than he can in the laboratory, 
where the smell of the chemicals distracts his judgment. 



Page Fourteen 



PANTOM I ME 



March 4, 1922 



Qalcium Kisses 



By Our Hollywood Hatpin 



1SEE that another periodic outburst of censor* 
is occurring, this time the efforts of the 
Chemically Pure being directed against th« 
inoffensive habit the screen-hero 
has of kissing his fiancee or his 
wife in the final fade-out. 

Apparently film-people are not 
supposed to mirror real life; for 
real folks, you know, have been 
kissing ever since Eve learned 
from the apple all about what she 
was missing. And proceeded 
to make up for lost time. 




Here's a 
print fro 
Wanda Haw ley 



Then, too -as long as 
film heroes kissed the 
vamp who lured innocent men to ruin with her 
caresses, it was all right and proper; but now 
that they've taken their kisses into their own 
homes, the censors think it's terrible, 
because this pastime of the so 
private life. 

A kiss. now. has many uses on the 
celluloid. What would the screen do 
without it! It is the subtlest and 
strongest weapon ever woman had 
It is both the shield and the banner of 
the sisterhood. She uses it to find out 
how much Hubby won at poker last 
niffht — then to wheedle it from him. 

When she desires a new gown of go! 
den iridescence, does she calmly discuss 
its purchase? Indeed not] She kisses 
him — then hurries down town to bu\ it 
before he becomes normal again, 
a new mauve limousine with 
the little hickies inside all of 
silver appeal to her? She kisses 
it out of him! 

So it "goes. Kisses are dear or 
cheap, according to what the 
soul of womanhood craves at 
the moment. The strata of life 
may separate the dear weak wives of the 
screen; but in the artfulness of then 
common weapon, they all are sisters 
under the skin. 

So. I ask you. how would a screen wife 
ever get any new clothes, or her own way 
about anything, if they take her best 
weapon away from her? And if a wife 
doesn't get her own way about some 
thing, where will the Domestic Drama 
corre from? Think it over. 

Then. too. what a tame entertainment 
play would be. shorn of its threading fire 
of osculation. What use that magnih 
icnt desert as studio artists always con- 
ceive it. with a nice, ferocious Shei/f 
waiting to be tamed by a mere slip of a 
girl — if he isn't going to get even 
teeny-tiny kiss out of her. after giving up 
that intoxicating harem for her sweet 
sake? What good would be the wild, 
wild moonlight with no scene to excuse 
the expense of its tinted lights? Were it 
extracted as is a useless appendix, what a 
flabby omelette would be served the 
hard-boiled audience of today! 

What would Anatol, that traveler de 
luxe among yearning lips, or the Queen of 
Shcha. Salome and those other match - 
lighters of history, have done without 




a kiss to set the fires of their genius going? 
Theodora, now osculating in our midst, 
evinces no infantile inexperience in the art. 

Or. take Camille. Her boudoir 
was so tragically somber that I 
knew all along she was going to die 
in it —and would you have the 
dear girl go kissless to her grave? 
And remember "Rigoletto," 
with the Duk* of Mantua hopping 
garden walls from one love affair 
to another. It kept 
the thing animated: 



Bebe Dan 
iefs has a 
kiss chuck 
tulloftem 
perament. 




Mary M \ I e I 
M inter has a per- 
fect Cupid's bow. 



one was never sure — as the Duke apparently was 
what lay beyond the next wall. 
My mama has taught me it isn't polite to 
mention names, but I'm going to disobey this 
Recall that the greatest heroines of the 
Shadows have kissed themselves to fame and 
made fortunes for the producers of their plays. 
Would you take from a baby its bottle? Would 
vou wrest from a soul-suffering heroine the only 
(apparent) balm that she gets for five reels of 
agony? 

Ah. if you are yet of the romantic school of 
chocolate creams and bobbed hair and 
swear by your friend of the love-lanes, you 
will uphold me in my demand that the 
Kiss be allowed to live upon the screen. 

Heroines of the silversheet who. though 
they do act. too. realize the importance of 
timely osculation, agree with me that the 
screen is. in no need of such reformation. 
'There are times." admitted Gloria Swan- 
son, emerging from the arms of Rodolf 
Valentino while the director and electri- 
cians arranged the lights for the final fade- 
out scene of "Beyond the Rocks." Elinor 
Glyn's story, "there are times when the 
use of a kiss is essential to the fulfillment 
of characterization." 

Norma Talmadge is another who never 
sacrifices breeding to passion. And would 
you deprive Harrison Ford of the privilege he 
waits six reels for? 

Eugene O'Brien and Wallie Reid would feel 
downright ignored if they got cheated out of 
their reward. 

No. I'm not defending promiscuous affairs dc 
coeur in the films. But I have come to the con- 
clusion that their presence does make it about 
as colorful as Joseph's coat and as interesting as 
those adorable little silver flasks all the nice 
society ladies carry nowadays. 

Living lava, is the kiss to the film. And as 
long as it can pass through the projection ma- 
chine, without setting fire to anything, as long 
the operator escapes unhurt, you needn't 
worry. I'm for the kiss, au naturel. 

Would you have Viola Dana wear that funny 
old-maidish make-up she dons in "Glass Houses" 
if she weren't to be rewarded by Gaston Glass in 
he last reel? Personally I think it was Viola s 
showing her ears that demoralized Gaston to the 
kissing- point — she says she felt more immodest 
baring them than she did in receiving her oscu- 
latory reward. 

{Continued on Pagt 30) 



March 4.1922 



PANTOMIME 



Page Fifteen 



If They Only Told the Truth 

From PANTOMIMES* Special Lost Angels Correspondent 



By Fuller Strong Hopp 



Illustrations by Jefferson Machamer 



THEY'VE gone and spilled the beans in this man's town by hitting it 
too hard on the Washington Birthday stuff. There was quite a little 
celebration in our office. Someone had said it was a holiday and lots 
of times it don't even take a suggestion like that to start something. 
So it started. 

I get into one of those private dining room things where the tables are 
all set in silver and shiny linen and the guests bring their glassware with 'em. 

Things are goin' nicely, in fact gotten to the point where Lizzie Nolan 
(Chrysabold Martel is the name she has chosen to use when she arrives), 
figured that after the next round she was going to ask Marcus Levinski. the 
noted producer-director, for a mob part in his next thing, when Dolores 
Dolly, the noted star, found a cherry in her glass. 

"Say. listen, didn't dis yere guy Washington have sumpin' to do wid 
cherries?" she asked in trat choice English which rrakes it a thing of joy 
that her "angel" selected the silent drama for her efforts. "Sumpin' like 
takin' the first pipe load back to Queen Lizzie in England, or invent m' the 
cocktail, or sumpin'?" 

"George Washington has attained some small historical prominence 
because of an incident of chopping down a cherry tree in his youth." in 
formed her social secretary. 

"You're right. Kid." said the star. "I r'member now it was Washington 
and Carrie Nation what made hatchets famous. But let's do sumpin' 
about it. Chop down some trees, or sumpin'. 1 saw some fine palms down 
in the lobby." 

"Now don't be start in' nothing. Sadie." said Edward LeConge. the noted 
director, calling the star by her right name with that delightful camaraderie 
that exists between director and star. "This is a LeConge production and 
you've got to be on with Eddie Palmer when he does the big punch of the 
picture tomorrow." 

"Nuttin' more doin' with Eddie." said the beautiful Dolores "He's out 
He's so bowlegged that it makes me look knock-kneed in dat clinch wid 
him." 

"Listen, you. before you get a smash in the mush." said the gentlemanly 
director. "I said that went for a retake wid you in back of the sofa enough 
so dat dc legs don't show, and you said you would stand for it if I didn't 
tell de boss about your cheatin' when he got back from New York." 

"Say. can dat stuff for a minute." interrupted Dolores. "Some of this 
dope about this here Washington guy is glidin' so that I'm beginnin' to 
remember him. He's de gink dat became de only charter member of the 
heavenly squad by never tellin' a lie Ain't dat right. Beansy?" 




"I'm get tin" kinda sick of all dis hokum we're passin' out to each other. 
Dis is goin' to be a honest tergod Washington party, 'cause here's where we 
all start tellin' de truth for oncet. widout a press agent between us an' de 
public. I begin, and de rest of youse come troo clean cause I knows all 
of you. 

"First place, why is Dolores Dolly a star? Well, de answer is easy. I've 
got de looks to attract Benny Best. He ain't spendin' dough on no dame 
he can't brag about. Me talk is against a Riverside drive apartment and 
de society game, but as a motion picture star I'm somebody he can talk 
about, and I never have to be heard. It don't cost much more to run the 
Dolores Dolly Productions than the society game would run up to. because 
de pictures can always be sold for sumpin*. which gives him a rebate. 
Dat's me! Now for you Marcus. What did you ever do to convince 
people youse was a featured director?" 



"But let's do sumpin' about it Chop doun "some trees or sumpin . I saw 
some fine palms in the lobby." 

' He enjoys a reputation for untarnished veracity." responded the secre- 
tary. 

"Wait a minute." said Sadie as several members of the party began to 
voice their uneasiness about what George Washington and his life had to do 
with a Washington's Birthday "little* celebration. Lizzie Nolan settled 
the argument by serving another round and Sadie got the floor by the simp'e 
move of talking while the others were drinking. 




You're right. Kid," said the star. "I r'member now. it was Washington and 
Carrie Nation what made hatchets famous." 

"Even in dis crazy business dey couldn't hold me down." almost shouted 
LeConge. "My appreciation of art. and de way I know how to do things, 
is what — " 

"Can dat line of chatter." interrupted Sadie. "Come troo clean or 
I'll do it for you." 

"You be careful what you say. Sadie. Dere's writers for fan papers here, 
and if you don't keep your trap shut, one word to Best and you're finished.' 

"You're tootin' a whole saxophone part about me finish if you yap." 
retorted Sadie. "But you aren't yapping cause de minute I'm troo dere's 
a few other people out of jobs." 

"Now listen. Sadie, youse had one too many. You's de most beautiful 
star in de business. Your emotional stuff has got anyone beat, and the only 
thing what makes Mary Pickford a bigger money maker dan you is because 
she's been in de business longer. A couple of more pictures — " 

"Get the idea. Marcus, get the idea." Once more Sadie was holding the 
Moor. "If de truth ain't in you. I knows you. Dat pretty little Walton kid 
thought youse was a regular he-man. when she gets her Well Known Players 
contract, and she swings you in for a three-year contract. Youse is on de 
lot only four weeks when dey find out dey wants your room, and Best is 
< tirst sucker what shows up and youse is wished on him by toutin" you 
<is a director. 

"An' you." Sadie was just swinging into her stride. "Where do you 
come off to butcher stories written by guys with brains. Once you slid 
one in. and the changes the director and cast made put some pep into it. 
and since that time you have been tradin' on it. You give me a pain." 

Dolores stopped after making signs as if she were going to select some 
of the other individuals present for an expose of their private grafts and 
the reasons, other than ability, for their being in the positions they occupied 
in filmland, but seemed to give it up as an endless job. 

"Beansy?" she said, turning to her secretary. "Youse is the only square 
shooter in the crowd. You don't pretend to be much but you're ail of 
that. Let's forget it and go back to the hokum." 

"That's the idea. Sadie." said Marcus very friendly, "tell this PANTO- 
MIME guv here that youse had sumpin' to eat what didn't agree with you. 
or you had too much to drink, or sumpin'. and was only kid-Jin' " 

"He's been makin' notes on all of it." he hissed under his breath. 

The beautiful star turned to me. 



( Cnnl inued on />■;,•«•£ 



2) 



Pa$t Sixteen 



PANTOMIME 



March 4, 1922 



March 4, 1922 



PANTOMIMK 



Pag* Sevent 



i? ^Moments in ViSlures Tou Haven't Seen 




■ 



r 



William Farnum has 
been away from the screen 
for nearly a year, and after 
seeing this we can imagine 
he has been training to 
take Jack. Dempsey s pugi- 
listic crown away from him . 
Mr. Farnum s forthcoming 
release is an adaptation of 
another of Alexandre Du- 
mas* novels, "A Stage 
Romance.'* 



It's a big moment in 
anyone's life — the first time 
he mounted a horse. This 
is Raymond Hatlon, and 
he is not at all sure that the 
horse knows he is supposed 
to be ridden. Anyway, the 
audience will have a lot of 
fun in witnessing this scene 
from "His Back against 
the Wall" 



1 - 



Who wouldn't take a chance on being drowned if they could feel 
certain that Helene Chadwick would pull a stunt like this to bring 
them back to consciousness? Richard Dix is the lucky man in this 
case and the scene is from "Yellow Men and Gold." 



Here is a Swedish D' At 
tignan. which shows that 
matter of mean §•- 
swinging is not a qu*sM_ 
of nationality. Gostn 
man is the man who 
won the duel and \f 
Johnson is the lady in 
background who caused 
battle. It all takes place 
the adaptation of //.. 
Molander's novel, "A 
tune Hunter " 



It isn't at all nice for any 
man to lie right down and 
die, no matter how badly he 
is hurt, in front of a nice 
lady like Alma Ruben* 
But this here one does, and 
the things that follow e* 
plain why her latest pro 
duction is titled "Find the 
Woman." 



Gracious! These actors 
sure are getting pugnacious. 
This) is the second fight to 
get on this page this week- 
Jack Holt is the fist wielder 
in this instance, and the 
scene is from "While Satan 
Sleeps,' an adaptation of 
the Peter B. Kyne story. 
"The Parson of P ana- 
mini." 



These long skirts sure do 
have 'one advantage, any- 
way, for Harrison Ford is 
probably about the only one 
that will overlook the ap- 
pealing face of Norma 
Talmadge when this scene 
flashes on the screen in this 
star's latest production, 
"Smilin Through." All 
of it doesn't take place in 
the long-skirted days, how- 



Lucky Gloria — Gloria 
Swanson being carried this 
way in the arms of the 
handsome young hero, when 
the hero happens to be Ro- 
dolf Valentino. Alec Fran- 
cis is the father in the pic- 
ture, and the whole scene is 
one of many for Gloria and 
Rodolf in "Beyond the 
Rocks." 



Page Eighteen 



PANTOMIME 



March 4, 1922 



The Sim of the Trident 

APTFR II O J 



CHAPTER II 

WHILE Ruth was being carried away by the White Rider, pandemon- 
ium was in full sway at the Wigwam. Phil Stanton and his cow- 
punchers were so busily engaged in fighting off the Indians that 
they did not notice the white horseman. In fact, it was not until Jim 
Loomis and Julia Wells rode up that the hostilities showed any signs of 
cessation. Loomis and Gray Wolf were on friendly terms, however, and 
although the chieftain was highly indignant over the invasion of his sanc- 
tum, he called a truce. 

'/Why did you permit this attack?" he asked Loomis. 
"It happened without my knowledge." came the answer. "I feel just 
as indignant over it as you do. These cowpunchers are my men. but I 
don't know what brought them here." 

He was interrupted by the approach of four redskins leading Phil. The 
young man was securely tied but none the worse for the fray. A smile 
spread over his face as he recognized his friend. 

"Call off these nuts, will you? ' he said to his partner "I've spanked 
several of them and now I suppose they want to scalp me ' 

"What do you mean by pulling off a scrap like this. Phil?" the older man 
asked. "This attack was outrageous." 

Stanton was about to answer when Moonlight ran up to them crying. 
"The Princess -White Eagle -has disappeared!" 

Loomis and Julia took Crouching 
Mole aside and it was decided that 
Loomis would go with the latter and 
his men to look for Ruth Randolph, 
while Julia would take another direc- 
tion alone. She mounted her hors* 
and galloped off. Loomis and Phil 
quickly called the men together, and 
all mounting, rode away. Before 
leaving, however. Loomis whispered 
some words to Gray Wolf which Phil 
could not hear. He wondered at the 
friendliness between his partner and 
the Indian. 

Julia Wells had ridden for aboul 
half an hour when she caught a 
glimpse of white a short distance 
ahead of her Urging her horse to 
greater speed, she shortened the dis- 
tance, and saw that it was the White 
Rider, bearing Ruth in his arms. The 
mysterious horseman had reached a 
canyon completely boxed in except for 
the entrance. He stopped for a 
moment before a huge tree which 
blocked an exit to the canyon, and the 
next moment a door, cut in the tree, 
swung open, admitting the rider and 
the girl. The tree closed again just 
as Julia roie up. She was mystified 
and could not fathom out how the 
horseman disappeared. 

Meanwhile, the White Rider carried 
Ruth through a tunnel and into his 
cave-like dwelling. He laid the girl 
upon a couch. In a moment she re 
covered and looked at the surround- 
ings with startled eyes. 

"Have no fear." the man said, "you are safe here, but danger awaits 
you outside. Remain until I return. I am your friend." He left the room 
through the passageway, mounted his horse, and roJe into the canyon the 
same way in which he had entered 

Ruth discovered a narrow window up near the top of the chamber. 
Taking a coil of rope, she fastened one end to the table and threw the other 
rope end through the window Then she let herself out of the window and 
started down the rope 

At that moment an Indian attendant entered the room and ran to the 
window, climbed up and out with surprising agility, and started clown after 
her. The weight of two people waa too much for the rope, and when Ruth 
was about twenty feet frnm the ground, it broxe The Indian recovered 
himself fir^t and. started for the girl, but Ruth picked up a good-sized rock 
and struck him with it With a moan, he sank to the ground. 

Ruth ran swiftly through the old forest trail. She was almost out of 
breath >vr en she came to an old adobe hut. and looking cautiously she 
started to enter when a shout caused her to hesitate. Her name was being 
called. Recognizing Phil's voice, the girl answered and they soon found 
the way to each other. 

It was after nightfall before they reached the ranch house. Jim Loomis. 
glad to see Ruth back, greeted her and apologized for the day's excitement. 

After he had left, the girl turned to Phil. > I really think 1 shall return to 
'Frisco." she said. "I think your exciting country is ton much for me." 

"Well, of course are hate to see you go. Mjss Randolph," Stanton an- 
swered, a strange light jn his eyes, "but I can imagine just how you feel 
If you insist, we can get a train the first thing in the morning." 

At down Ruth and Phil entered the corral and were about to mo.mt their 
horses when I lenley. a cowpuncher. ran up. saying that he had strict orders 
not to allow them to leave. 

"Who gave you those orders?" Phil demanded. 

"The boss gave 'em to me. that's who." came the sullen answer. 




"He did? Well, you ought to know by this time that his orders aren't 
the only ones around here. ' replied Stanton, trying to push the man aside. 

"I can't let you past here." said Henley, blocking the way. 

Before the surprised cowpuncher realized it. he lay sprawled out on the 
ground and Stanton and the girl were mounting horses. 

But Henley knew that when Loomis gave him orders it was up to him to 
carry them out. In a moment he had recovered himaelf, called two of his 
men. and. obtaining horses, took up the chase. 

At the San Mario station. Ruth and Phil came racing up just as the train 
was pulling out The girl just managed to get on the rear platform of 
the last car. but the train was already making too much speed for Phil to 
get aboard. 

Stanton left the spot a moment too soon, for Henley and his men dashed 
around the corner of the station and saw the girl on the train. 

Ruth seemed a prisoner on the rear platform of the train. The door to 
the car was locked. As the train reached the bend, she saw Henley and 
his men approaching. Nearing the rear platform. Henley endeavored to 
seize the girl, but she shrunk to a corner of the platform. I it- was close' 
enough, however, to gain a foothold on the platform. Ruth guessed what 
would be his next move. Then, for the first time, she noticed the ladder 
running to the roof of the c«»r As Henley was about to swing himself from 

his saddle to the platform. Ruth started 
to climb the ladder, and in another mo- 
ment she was on the top of the train. 

Looking ahead, the girl was startled 
to see that the train was approaching 
<* tunnel. Dismayed, seeing that she 
could not possibly escape from the 
loof of the train. Ruth started for the 
ladder again. As she looked down- 
ward, she saw Henley climbing up 
toward her. a look of triumph in his 
eyes. 

CHAPTER III 

Phil Stanton rode wearily back to 
the ranch house, unable to disrqiss 
thoughts of Ruth from his mind. But 
how would he see her again? I le would 
have to go to San Francisco But 
what would he tell his partner. Jim 
Loomis? He laughed to himself. What 
did he care what anybody thought! 
Wasn't he in love? 

He took his horse to the stable, and 
then he remembered about the strange 
Ixr avio; of Bill Henley. He looked 
around for the man. intending to get 
an explanation, but 1 lenley was no- 
where about. He mounted his horse 
and rode about the ranch, hoping to 
find him. Finally he galloped back to 
the ranch intending to see Henley 
later. He entered the house and called 
for Loomis. but he. too. was not to be 
found. As he walked out on the porch, 
he could hardly believe his eyes. 
Thee was Ruth Randolph running 
toward him. 
"Phil!" she shouted, and rushed into his arms. 

Soon they recovered from their embarrassment and Ruth explained how 
she happened to return. The episode with Henley on the rear of the train 
brought deep anger to Phil, but when Ruth told of her escape he was thrown 
into deeper mystery. 

"We came to a bend in the road where the train ran alongside a high 
bank, almost on a level with the train. Henley was slowly approaching me. 
and I decided to jump. I landed safely on the bank, and Henley was about 
to follow, when the mysterious horseman in white galloped up. drew me 
up in his saddle and dashed back here to the ranch with me." 

"But who is this horseman?" asked Phil, "and where did he go?" 

"I don't know who he is." answered the girl. "As sonn as he dropped me 
from the saddle, he turned and disappeared in a cloud of dust." 

At that moment the young couple were startled to have a small-sized 
rock come hurtling through the open window. There was a note attached. 
Ruth picked it up and read: 

Do not try to leave this region w ; thout the Indians' consent 
Any attempt to escape will endanger the life of the man you love. 

"What does it mean?" .sked the girl. 

"I am interested only in the last sentence." smiled Phil. "Oh. Ruth. I 
love you. you must know it bv this time." 

"The last sentence is true. Phil." whispered the girl. Their lips met in a 
long kiss. * 

A few moments later. Ruth dismissed her lover and went upstairs to her 
room. A knock at the door caused her to pause. An old Indian woman. Stone 
Ear. appeared. She handed the girl a package. Ruth opened the package 
and found a metal box containing a piece of parchment upon which were 
the words: 

To my daughter. Ruth: 

Under *he law of the Canyon Indians, you are their chief tainess 
and rightful ruler. Go with them to the Golden Canyon and there 



The girl just munafirJ to gd 0/1 the rear pi it form of the last cur 



March 4. 1922 



PANTOMIME 



Page Nineteen 



i 




Recognizing f'hti * voice ihi git I answer i: .1 and they soon JounJ 
their way to each other. 

find the Wampum Belt under the atone with the Trident. This 
belt will make you immune from danger ft also contains a secret 
message that will free you from the Indians. 

Your loving father. 
The note only made Ruth wonder more at the series of surprising events 
which had followed her arrival at San Mario. That night she told Loomis 
she was ready to go with him to the Wigwam, much to his surprise and 
Phils. 

The next day at the Wigwam. Gray Wolf was triumphantly addressing his 
councillors. "The white Chieftainess is coming here with Loomis." he told 
them, "and this time she must go with us to the Golden Canyon " That 
Phil's partner was allied with Gra\' Wolf for some unknown renson was 
becoming very appa ent. 

A week later the entire party arrived at the entrance of the Gcldcn 
Canyon. The spot was well fortified and defied attack. A great, pivoted 
rock blocked the way for invaders and could only be opened by the Indian 
guards on the inside Gray Wolf left the party on the outside while he 
entered to prepare the festivities for the welcome of the Princess White 
Eagle. 

A few moments later the rock swung back, and Crouching Mole appeared, 
and told the girl to enter. She was astonished at the picturesque sight 
which greeted her eyes. Phil, much to his chagrin, was left on the outside, 
but he determined to remain in the vicinity. 

Ruth was bedecked by Gray Wolf with an elaborate. wh : te Indian over- 
garment, and after placing some sacred beads about her neck, the chief held 
up his hand for silence. 

"I proclaim Ruth Randolph our white chieftainess." he announced in 
a loud voice. "The Great Spirit has willed it so." Then the weird festivi- 
ties began As they got well under way. Gray Wolf drew Ruth aside. 

"Our tribe." he explained, "is made up of two clans -the Buffaloes and 
the Blue Hawks. Our law demands that you. our Chieftainess. shall decide 
which clan shall own the Golden Pool. You must decide one moon hence 
I myself am the chief of the Blue Hawks and I pray you to decide n favor 
of my clan." 

At that moment another Indian, handsome as a Greek god. stepped 
forward. There was a hint of hatred in Gray Wolf's eyes as he said to the 
girl. "This is Standing Bear, chief of the Buffaloes." 

Standing Bear bowed to the girl and then faced the assemblage. "Men of 
the Canyon tribes." he said, "during the time in which the Princess White 
Eagle dwells among us. she will be under my protection. Woe to him 
who heeds not this warning!" Standing Bear then took Ruth aside and 
warned her of the treachery of Gray Wolf. He hinted at many things 
that Gray Wolf was resoonsible for the death of her father. 

Meanwhile. Gray Wolf was in consultation with Crouching Mole. The 
latter had told him of the conversation between Standing Bear and the 
girl Grav Wolf was furious. But the crafty ally informed him that the 
Pool would be equally divided between the tribes, should any accident 
befall Ruth. Gray Wolf smiled his approval. 

That night Ruth de 
cided to investigate the 
Golden Pool and find 
the Wampum Belt, 
which was spoken of in 
her father's letter. As 
she approached the 
spot she saw four In- 
dian horsemen stead 1\ 
circling around it. 
guarding the seething, 
bubbling, molten gold. 
As Ruth drew near to 
the Trident monu- 



ment, the four horsemen watched her curiously. She stood trying to find 
the particular stone mentioned in the parchment. Finally she discovered 
it. marked with a trident. Lifting it easily from its place, she reached into 
the hollow and drew out a small package. 

When she unwrapped the package, took out the beaded belt, and held it 
up. the Indians drew back in awe. 

"The Sacred Wampum!" they cried. 

The girl turned to them and said: 

"Go and attend to your duties. And let your lips be sealed!" 

In the Medicine Man's tepee, that same night, Crouching Mole, carrying 
the iron trident, was instructing the Medicine Man about a deed he wished 
performed. The sinister old fellow took the trident and left the tepee. 
A few moments later he crouched outside of Ruth Randolph's window 
Cautiously arising to his full height, he looked in and saw the girl preparing 
to retire for the night. He glanced backwards, to assure himself that he 
was not being watched, then, taking: the trident, he poised it in the direc- 
tion of the girl and prepared to hurl it 

CHAPTER IV 

Ruth Randolph was unaware of the fact that the Medicine Man was 
lurking outside. She turned and started to walk directly toward the 
window. The surprised Indian, still unseen, looked full at the girl, then 
a gasp of surprise escaped his |ips. 

"The Wampum Belt!" he ejaculated. And dropping the trident, he took 
to his heels and fled. 

Out on the terrace, the Indian lovers — Moonlight and Standing Bear — 
were startled to sec the Medicine Man running as if the devil himself was 
after him. Fearing for Ruth's safety, both ran to her room. Standing Bear 
finding the menacing trident and carrying it with him. They told the girl 
of what they had seen. 

"If I am in danger, as you think." Ruth said. "I believe it would be best 
to send for Phil Stanton at the ranch." 

At the ranch house/ the next morning. Phil Stanton and Julia Wells were 
about to leave the porch when the mysterious rider appeared. Dashing 
up in a cloud of dust, he hurled a trident to the steps of the porch, turned 
his horse and galloped away. Julia looked at Phil in surprise, but the latter 
leaped to the steps and seized a piece of paper tied to the trident. 

"Ruth if in danger." he read. "Go to her even if you have to fight your 
way into the Golden Canyon." Rushing to the corral, he called together 
a band of the cowpunchers and in another moment they were galloping 
toward the canyon. 

Meanwhile, the rival chieftains were prcfenting their respective argu- 
ments to Ruth for the right to the Golden Pool. Ruth was seated in the 
center of the council, and Gray Wolf. Standing Bear, and Jim Loomis 
watched the girl intently. Loomis had determined to gain possession of 
the Golden Pool, through Gray Wolf. But Ruth had observed the friendh 
ness of the white man and the Indian and suspected that they were up to 
mischief. 

"If you give the Golden Pool to Gray Wolf and his Blue Hawks." 
Standing Bear told her. "the vast wealth will ruin his tribesmen —while 
among my clansmen, enmity and hatred wilf be aroused. Therefore. 1 
claim the Golden Pool for the Buffaloes, because we will not touch one 
ounce of the gold, but will pledge ourselves to leave it in the pool forever." 
Gray Wolf became enraged. Ruth saw the deep anger on his face. 
"Be not swayed bv petty jealousies," she pleaded. "Do not judge 
before I have judged " 

Meanwhile Phil and his cowpunchers arrived at the pivoted rock. They 
waited for an opportunity to enter. Crouching Mole and a few of his 
Indians galloped through after the rock had been swung open. Before the 
redskins knew it. Phil and his followers dashed through. Phil, riding hard, 
pressed onward and reached the assembly house. Fighting desperately, he 
. gained admission and entered upon the scene of the rival tribes about to 
fall upon one another. 

( f# br • itnlmai J ) 



The Sign of the Trident 

Adapted by Herbert Crooker, 
from the Pathe photoplay 
serial. "White Eagle." starring 
Ruth Roland. Original story 
by Val Cleveland. 
Copyright by Pathe Exchange, Inc. 




The #irl was. horrified to see that the train, was approaching a tunnel 



Page Twenty 



PANTOM I ME 



March 4.1922 



Jtty Start in "Pictures 



By Agnes Ay res 

/CHOSE the hottest day in the hot summer of 
I9I6/o make my cinema debut. The place 
was the Essanay studio, in Chicago. I was 
an extra in "The Masked Wrestler." starring 
Francis X. Bushman. 

I was sent to the wardrobe department to put 
on any dress I happened to find there. I selected 
a pale blue satin creation with a black lace over- 
drape — / can see it yet. Nobody instructed me 
about make-up. so J just put a heavy coating of 
talcum powder on my face. My duty was to sit 
in a box and look interested while Mr. Bushman 
wrestled. Everything was very new to me, and it 
was no trouble to look interested. The camera 
was focussed on the wrestlers, and J was afriad 
I wasnt to see myself on the screen. 

The director didn't finish the sequence the first 
day, so I was asked to return the following morn- 
ing and sit in the box again. The camera was 
turned upon my box for a minute, and my heart 
beat a little faster, for I felt that now 1 was in 
the movies. I was blushing, and I was glad 
that my coating of powder was heavy. Reds 
photographs black on the screen. 

Soon I had a regular engagement as extra 
at the Essanay studio. 




By Wallace Reid 

MY chief recollection of the first motion 
picture in which I appeared is that 
Lake Michigan is a very cold body of 
water in the merry month of May. 

The picture was made in Chicago, by Selig. 
I was given a job as juvenile because 1 had been 
a volunteer life saver on Lake Michigan and 
could swim. My chief duty in the picture was 
to dive into the lake and rescue various fair 
damsels from watery graves. The water was 
the same temperature as the North Pole, and 
between scenes there was nothing for me to do 
but stand on the landing in my bathing suit and 
shiver. 

The picture was called "The Phoenix. ' 1 which, 
I believe, is the name of a bird which has a 
peculiar habit of rising from its own ashes. 
I sure would have welcomed some ashes when 
I rose from Old Lake Mich. Milton and Dolly 
Nobles, two recruits from the speaking stage, 
had the leading roles in the film, and the camera- 
man was Alvin Wyckoff. who is now director 
of photography at the Lasky studio. 

W e worked differently in those days than we 
do now. Often the story was made up as we 
went along. Sometimes the director doubled as 
leading man or even turned the crank of the 
camera in an emergency. It seldom took over 
ten days to make a picture, which usually 
measured one or two reels. 



March 4, 1922 



PANTOMIME 



Pa it Tue&ly-one 



Pant omimed Scenario Club 

Conducted by Florence J'fiptyfe 1 




H.4\ TOXf/ME'S Scenario Club i* at your service. It i$ under the direction of Fhrerce rVclniyre. tccnario tpexialitt. 
recently of the Thomm* H . I nee Studio*. Mi** Mclntyre and a tup oj trained critic* have keen t rtpoffrd /• a**ttt tkrocgh 
honest correction, criticism and suggestion, all those an bittou* to write screen »turt«s A yecr's subscription to PANTO' 
MIME entitles you to all Club privilege*, and %\ mutt accompany each *tory si imttteel for can*iructic* criticitrr . Only 
Club member s are entitled to thi* rerrarlrable *erviee. Be *ure to enclose self <.ddtts*ed. stent rd enweUpr ubtrt you 
tend in your *tory. Addret* all communication* to PANTCM/ME'S Scenario Club. I6C0 Broaduay, New York, 



H r hy Tour Scenarios *AreT^jetled - "By Thomas H. Ince 



Perhaps therr is no studio on the Pacific Coast thai receives more scenarios 
f> r nonth than that of the big establishment of Thomas II. I nee, at Culver 
City, California. The reputation which Mr. Ince has created for himself is 
perhaps responsible for this. But it is a fact, that with every mail scenarios 
pour in from all parts of the United States and, indeed, from the far ends oj 
the world. And most of them are accompanied by a personal note to the big 
producer. 

The public seems to know that Mr. Ince is among the most open-minded 
men in the motion picture industry. They 
feel that if their stories contain picture material 
at all. their manuscripts will be given every 
consideration. And this is quite true, for th 
scenario department at that studio is splen 
didly organized and equipped and stories 
are given every possible consideration brfotr 
being rejected. 

T nomas H. Ince has brought forth mot I 
new talent than almost any other produce* 
Not only has he discovered and made stars, 
but he has also been quic*\ to rscognizi Ihos • 
who possess the ability to write screen stories 
Many of the big writers of motion picture 
stories of the day received their early training 
under the direction of Mr. Ince. Indeed, at 
least one of the most promineWt scenarists of 
the times told me that it was to the patience 
and encouragement of Thomas H. Ince that 
she owed all of her success. 

When Mr. Ince consented to make a feu) 
statements regarding scenarios for our p.tge. 
I l^new that everyone desirous of uniting for 
the screen would be delighted to hear directly 
from this Peer of Pictures -and this is what he 
has to say to you: 

The Editor 




1 WOULD like to give a little practical 
advice to the men and women whose 
stories, intended for use on the screen, 
reach my studios at the rate of approximately three hundred a week. I 
would like to point out to them some of the reasons why so much of the 
material is unavailable for our purposes. / would also li/^e to show them how 
they can turn some of their failures into successes . 

"First and foremost. I would advise everybody who writes lor the screen 
to write only about that which they know This sounds like a platitude 
but it is the soundest advice that I can give. If it were followed we 
would have less unproduced material about mythical kingdoms and the 
inhabitants of other planets and more first-class material about human 
beings whom we all know. 

"In the moving picture we have a medium which is adequate to the fullest 
reproduction of any story that can be conceived bv the mind of man; but 
the medium itrelf is of no good to anybody unless through it there is 
told a story which grips oar interest and holds it. And the only kind of 
a story that can do that is a story which deals with the struggles and 
triumphs, the hopes and fears, of human beings, of men and women of whom 
when we see them represented on the screen, we can say: 
" 'I know people who are like that.' 

"Stick to human nature. Give your characters aims and motives that 
are recognizable as genuinely human aims and motives. Make the char- 
acters themselves real. There is a big drama in the life of every human 
being that ever was born. Drama does not mean only wild physical action. 
There. are mental and spiritual crises out of which you can fashion thrilling 
drama without having to depend upon a revolver or a fist fight. But drama 
means conflict of 'some kind. Somebody wants to pet something. Some- 
body has to overcome it. 

"Let the object for which your characters struggle be one which ti? 
rest of us realize is worth struggling for. Let the obstacles which: l»f 
overcome be obstacles such as are met with in the real world of men 1 1 1 
women. 

"Be real. 



"This does not mean that you are to write dull, prosaic narratives in 
which nothing happens. On the screen something has to happen. The 
picture has to move. But let it move naturally, clearly, logically. 

"Do not load your stories with superfluous characters, characters that 
have nothing to do with the development of the story nor with a lot of 
extraneous matter that has nothing to do with it either. Keep to the story. 

"But do not keep a story along the paths that have been troddeu by 
writers of other stories. The value of a new writer's work lies in the fresh- 
ness of his viewpoint, the novel twists and 
turns which he can give to the thoughts and 
the emotions that are the common property 
of us all. 

"And do not be too solemn. Remember 
that everybody likes to laugh. Even in 
serious drama the tension must be relieved, 
sparingly, of course, with humor. 

"Don't make your good people impossibly 
good, or your bad people impossibly bad. 
There are, in real life, very few pure whites 
and still fewer pure blacks. But there are 
plenty of grays. Make your characters real 
men and women — not figureheads. 

"But select as your characters men and 
women whose lives develop situations, 
emergencies, crises, for these are materials 
out of which drama is made. 

"Do not write down to the public. The 
chances are that the public is capable of 
understanding and appreciating any char- 
acter or situation that you can devise. 

It is certainly true that the public should be 
given credit for possessing more intelligence 
than some writers ascribe to it. 

"And do not. as soon as you have finished 
a story, rush with it to the postofTice. Keep 
it for a while. Think it over. Read it over. 

"But all the work in the world won't sell 
a story which is not intrinsically true to life. 
That is the standard by which every work is 
tested. The matter of writing for the screen is not play. Like everything 
else worth while, it entails hard work, lots of hard work, and intense study. 

"No one accomplishes anything in this world by the easy route, and little 
is attained that is worth while without hours and hours of devoted effort 
"Writing motion pictures has become a new profession of letters, and 
one who has never studied the construction of screen stories, nor one who 
has never written, can expect little success without many, many attempts. 
Don't be afraid of new ideas. They count the most. But don't fill your 
story with impossible situations. Distinguish between new ideas and absurd 
situation. 

"Judge your worfc in the cold light of common sense. Weigh each situa- 
tion by the scales of reality. Test each character you have created in the 
light of ordinary reason. And when you have tried and tried, and rewritten 
and worked, and you are satisfied that your work will meet the cold jud^ 
ment of the editor, look for your market and submit your manuscript." 



Here is some sound advice from one of the biggest producers in the motion 
picture industry. There is value in every sentence, if you will only digest 
and absorb it. and use it as a guide-post in attempting to write for the 
screen. Mr. Ince has the reputation of knowing what the public wants — 
that is the secret of his success in the film world, and he knows just how to 
"serve up" a good story upon the screen. Half of the writer's battle is in 
knowing what the producer wants, and as a rule, each producer wants some- 
thing different. So. if you harbor the hope of some day having a story 
accepted at the Ince studios, keep in mind what he has told you -human, 
understandable stories, written about situations and characters with which 
you are familiar. Editor. 



Thomas H Ince. who has developed many 
present-day screen writers. 



Page Twcnty-lwo 



PANTOMIME 



March 4. 1922 



Beauty and — a Brain 



An Appreciation of Claire Windsor 



THERE U something essentially 
ethereal about Claire Windsor. 
Her beauty is of the soft, sugges 
tive kind, like perfume. It makes you 
think of your first love. A delicate rose 
in a Tiffany Favrile vase. Spring in a 
debutante's boudoir. An old-fashioned 
garden. Pink silk lingerie in a cloister. 

She is so exquisitely ethereal that I 
expected any moment a breath of wind 
would come and blow her away. That 
is. until she began to talk. Then I 
realized that there is depth to Claire 
Windsor. She isn't superficial, as are 
so many wcmen nowadays; she isn't 
satisfied with the easy existence of 
accepting things as they come — for she 
has an intellect. She probes to the very 
heart of things, to settle them in her 
own mind at least. This quality o( 
thought was best expressed in her work 
in "Grand Larceny." in which her keen 
intellect and restrained handling of the 
role of a gutta-percha wife stretched 
the play from a problematical nothing 
into a real question-mark that women 
are calUd upon to answer. 

She has been in picture) two and a 
half years. When she came to Los 
Angeles with her mother, a friend 
chanced to be going to one of the stu 
dios one day and asked Claire to 
accompany her. More as a lark than 
anything else, she worked that day as 
an extra. Becoming really interested, 
she gradually "crawled up." 

Claire Windsor is like unto no one 




She makes you thinly oj spring in a debutante' s boudoir. 



By June Bradley 

except a possible fleeting resemblance 
to Elsie Ferguson in that sublime 
mingling of fragility and poise. She is 
delicately colorful, of a quiet, rather 
reserved nature, contenting herself 
after working hours with her home life 
and her four-year-old son. 

One of her best friends said to me. 
"Claire is a real girl. She hasn't had a 
fair start — the wrong kind of publicity. 
That a/Fair of her 'disappearance' in 
the hills, for instance. But she is 
'game' enough to rise above such 
handicaps." 

This hectic publicity that she has 
had. through her adventure in the hills 
a block or two from home and the vocal 
fire incident to her reported engage- 
ment to Charlie Chaplin, for a time, 
threatened to blind the public to the 
real Claire Windsor. Now that those 
so-called "personal advisers" and wild 
idead press agents linked with her past 
efforts have ceased trying to acquire 
fame for her along the red-hued routes, 
and have quit waving the flag to an 
ennuied public. I believe that Claire 
Windsor will make her own place. For 
her art is many-faceted. And — 

She has a brain of her own. 



"J ailing into the JXtav 



ICS 




Outside burlesque he really can tickle 
tome mean ivories. 



By Maude Robinson Toombs 

AN example rf how pluck can conquer a 
^ heavy handicap is given by Harry Sweet, 
the young Century comedy star, who poi 
trays "boob" parts. 

Harry went through school without uttering a 
word because from childhood he had a severe case 
of tongue-tiedness and every time he tried to 
speak he stuttered so nobody could understand 
him. His schoolmates made him an object of fun 
I lis teacher, however, lightened Harry's predica- 
ment by never calling on him to recite his lessons 
orally but accepted from him everything in 
writing. So he managed to get through the 
course with honors. 

Sweet is only twenty years old. and he literally 
fell into the movies. He landed with such a bang 
that he's still in — only instead of seeing stars he's 
one o them now! 

Among his other accomplishments Sweet, apart 
fr m playing "boob" parts, walks a wicked tight 
rope and executes a mean balance as an acrobat 
One bright morning he wound his way to the 
Century studios and asked for work — principally 
because he needed the wherewithal to buy half 
sole and food. 

"What can you do>" asked the director of the 
young man. 

"Anything." was the prompt answer. 
And everything was what he drew. He doubled 
in every risky scene the scenario editor could 
think of. He played the piano for the purpose of 
drawing tears or smiles as the case might be while 
someone else was acting, and even when the 
janitor was confined to his bed for a month wit I, 
measles, Sweet officiated with broom and dust- 
pan. 

Then one day his big chance came. He was 
given a real part in real comedy and he walked 
away with the stellar honors even though he was 
not the f tar. From that day on Sweet has been a 
star in his own right. 




He was made a *tar in 
record time. 



March 4, 1922 



PANTOM I ME 

jQ/xury Taxes 

Some of the gowns worn by 
Mabel Ballin in her 
latest production 

Photography is a funny 
thing because of the difference 
in which it registers material 
for ladies' gowns. Here is 
another of the straight neck 
lines, made of clinging canton 
crepe in a rich wine shade. 
The toque is of the same shade, 
although it doesn't look it, and 
the fur is silver fox. 



Page Twenty-three 



v 



This gorgeous feminine 
frivolity is an elaborate 
tea gown. Black trans- 
parent net, hand painted 
in gold, is startlingly effec- 
tive tvhen worn over a pale 
pink satin slip. 



/ 



Shimmering taffeta of 
delicate sap-green shade is 
the predominant note in 
this evening gown. The 
skirt is made rather full, 
with a scalloped hem. be- 
neath which is a hand- 
made Valenciennes lace 
foundation. 



This is a fragile affair of 
orchid silk and pearls and 
is intended wholly for evening 
wear. The girdle is of pearls 
as well as the shoulder trim- 
ming and the train is 
of silk despite its transparent 
appearance. The wrap is of 
pink brocade with very light 
white fur {ringings. 



"Simple and fetching" is the 
way the modiste describes this 
evening gown. We can under- 
stand the fetching part but the 
simple is a little bit beyond us 
when the description reads "cut 
along simple lines with the new 
straight neck line. Made of 
black chiffon brocade, worn 
over a pale pink satin slip. 
Slack ostrich feathers at the 
shoulder and down one side 
rf the skirt, with a white ostrich 
spray at the waist " 



Page Twenty-four 



PANTOMIME 



March 4. 1922 



IVild J^jfe in Hollywood— a Truly Scandalous Tale 



By Myrtle Gebhart 



Newspapers and some fan magazines have specialized in scanlal among motion picture people. PANTOMIME suspected that the big majority 
of the people engaged in the big work of making productions were no worse than the ordinary run of humans. H e asked Miss Ccbhart, 
than whom no one knows the player folk, better, to write an article about the wild life of Hollywood, and here it is. 



" I ^HIS is our slogan: Eat. drink and be merry, for tomorrow ye —work. 
Enjoy your play-time while you have it. For if you're prim and pre- 

4 ciae and stay home evenings reading Shakespeare, the tourists are 
telling everybody all about the "bad parties" you're "putting on" behind 
the chastely drawn shades. 

"Still waters run deep." thev whisper and talk just the same. So why 
not. if you're going to have the name hitched onto you willy-nilly, get a bit 
of the game? An innocent evening's pleasure dining and dancing is going 
to be splashed across the front page of the home-papers by "Mrs. So-and-So. 
our leading matron." when she returns to Syracuse, so you might as well 
get a little fun for the ill-fame that's going to be yours as sure as the trains 
run back East. 

Hollywood is very much misunderstood and maligned by all the good 
folks back home. They obtain their information as to our "wicked revels" 
second-hand from the tourists who. having seen Mary Pickford and Viola 
Dana and Wallie Reid motoring down the Boulevard in their separate 
motors, go back full to bursting with intimate accounts of our stars' private 
affairs and spare no adjective in the telling Like Tillie's chewing-gum 
do these accounts stretch 



A 



community circulating. Folks back home say the etiquette here is to have 
a perpetual love affair and if you haven't one of your own. borrow your 
neighbor's. But marriages do last out here, past the budding and beyond 
even the pruning seasons. Witness- Wallie and Dorothy Reid. Dorothy 
Phillips and Allan Holubar. Florence and King Vidor. Thoa. and Mrs. 
Thos Meighan. Jack Holt and the Missus, the Farnums, the Desmond*. 
Betty Blythe and Paul Scardon. reams and reams more. 

Hollywood is a one-industry town. We hie us to our tailor's for a coat- 
of-arms and emerge engraven E Pluribus Unum. We live by. to and for 
the production of motion pictures. We work. Beneath the stratum of 
gaiety -seemingly unencountered by the tourists - is a thread of constant 
effort; a mighty river of industry gurgling as do the waters beneath the 
ice-coated Volga in winter PeDpIe do not look for the earnestness beneath 
our play-time. Therefore our motto: Eat. drink and be merry, for to- 
morrow ye — work. . 

When we work we work; and when we play we don't wait around for 
something to happen. With chaps like Wallie Reid and Walter Hiers on 
tap. the fun keeps moving. It is the antics of a puppy -dog full of the joy 
of life, this amusement of our "colony"; it is the geysering of an oil-well 
temporarily unsheathed from its harness of industry and flooding the air. 
Film-people live in a world of make-believe. Their work-time, contrarily 
enough, is illusion. When they play, they want something tangible to 
enjoy. They want Life. And they take it like some of them do gin — 
undiluted. As I once said in a quip to the diligent censors: "Life is a very 
had subject for young people to investigate. Why not abolish it altogether?" 



Guy Bates Post and Mrs Post, better h noun as Adele Ritchie, use this method 
of an evening's dissipation in their own beautiful home. 

I have lived in I lollywood. in the bosom of the studios, so to speak, for 
almost a year and a half; I have been so fortunate as to meet the majorit> 
of the stars "from Marv Pickford down " And yet I admit in all shame 
of ignorance that Mrs. Sam Weinurwurst. the butcher's wife up on Wilson 
Avenue in Chicago, and Mary Jane Smith, the ten-cent -store girl in De* 
Moines, know far more of the stars' intimate history and love affairs 
than do I ! , 

People have yet to learn that most of these lurid high lights of stars' 
lives are but publicity being poured by indefatigable press-agents, abetted 
by willing tourists, into the greedy maw of the public Just because some 
of our male stars, desin lg no ghostly reminders of a rural past, pretend to 
have been born in the wicked city and reared on gin -is that any reason 
to condemn all our noble townsmen? 

Our people are gay, plea sure- loving; they are enjoying the relish-days 
of life. And if their very human mistakes are arc-lighted by the world, 
are they to blame? 

Take this divorce-question. When Mrs. Smith divorces her legal storm, 
it is a matter of no interest save to the happy Mr. Smith, his wife's friends 
who prophesied it all along and "the other woman." who hopes to reap 
the harvest Many a wife back home operates on the theory that where 
ignorance is bliss, it were foolish to jeopardize your income by knowing 
too much. 

But when Felicia the Film Queen finds that her own woman-heart has 
been torn with disillusion and prefers riddance of a bad bargain to legalized 
degradation -the whole world gasps. "I told you so! Those movie folks 
just can't keep decent!" 

Well, as Nat Goodwin used to say. we marry anyway. And this habit 
of laying off the old like you do your winter underwear when new spring 
flowers blossom and attract the eye. has its advantages in that it keeps the 




The devotion of Mr. and Mrs. Charles Ray to their home is so well ^noun 
that they are known as the Los Angeles "stay-at-homes." 

As long as there is Life, there will be transient happiness. Our people 
aren't gods— they are humans. And they like to play once in a while. 

Come with me and I'll take you around the joy-palaces where our 
filmdom elite plays and eats. The two are synonymous; or perhaps the 
gustatorial delights should be mentioned first, for here as nowhere else on 
earth is the question so recurrent: When do we eat? Feed these dainty 
young Boulevard Broilers and in ten minutes they're clamoring for a 
square meal. No wonder they all have to go on diets and reduce! 

Down the Boulevard, stretching a white ribbon in the frosted illumination 
from street lights. I spied a chummy-roadster. It was inhabited. I decided 
I'd be brave for once and try the Hollywood Special — a flirtation — a sort 
of cocktail to the evening to follow. . . . But the occupant wailed 
he'd like to buy me an ice-cream soda, only he had to hurry home and walk 
the baby, as his wife was making night-scenes for a picture, and besides he 
didn't want another divorce 



March 4, 1922 



P A N TO M I M 



Page Twenty-five 



Disconsolate but still hopeful. I wandered on 
The day-time congregating spot, the corner ot 
Cahuenga and the Boulevard where stands the 
bank that picture people patronize when they 
can. was deserted. Passing Frank: s. ) peered 
in. There was a somber pall all over the staid 
gathering knifing -and -forking it. Frun^'.t - 
getting to be more of a he-place. Now you sec 
there, soberly engulfed in macaroni and cigaret 
smoke. Tonv Moreno. Jimmie Morrison. Jame* 
Young. Marl Williams. 

I thought of Frank's wonderful coffee and 
French pastry. . . . Should I risk a flirta 
tion to pay for my dinner? It has been don»- 
before — so they say. But I feared I might have 
to leave as security with the rigid waiter the 
imitation-pearl brooch poor dear Grandma left 
me. ... So I trekked hungrily on. 

1 drew up before the quaint blue facade of 
Armstrong 6i Carlton's, the favorite chinning- 
spot of the younger fraternity. They believe in 
making folks comfortable here; you settle mile* 
deep, it seems, into cushiony leather settees 
backed against the walls. Here you find the 
feminine tit-bits, scads of them, eager voices 
trilling amid bites, dainty white fingers flecking 
cigaret-ash like an old-timer. Frilly, fluffy 
sophisticated, yet girlishly naive, such wee little 
persons. But oh. my. how they do eat! 

Just then The Gentleman Who Accompanies 
Me Places happened along in his Packard 
(Nobody has Fords out here — for publication ) 
Being Wednesday night, we decided on Sunset 
Inn. which has designated that evening of each 
week as Fo to players Frolic. Some star is chosen 
honor guest. This time Gaston Glass was the 
victim which meant he had to forget he was a 
screen idol except when the tourists were looking 
That meant Gaston had to keep a close watch on 
his classic profile -for three-fourths of the people 
there were from Akron and Dallas and Twin 
Corners! They'd come out to see the stars shine 
— so they could go home and tell all the folks 
about having dined with Wallie Reid and Gloria 
Swanson. 

Gaston was dancing with all the sweet little 
girlies — I can't imagine what Viola Da —excuse 
me! --meant by tempting him so with other 
pastries. But he seemed very debonair as the 
pivot of all the ladylike warfare. Gaston is a 
Frenchman -maybe that accounts for his superb 
aplomb. 

Lila Lee. who grew up to be a young lady in 
about a week, was attended by a handsome swain 
Bebe Daniels was all in wondrous swirls of rose 
chiffon, still wearing Jack Dempaey's gift, a 
gorgeous diamond-begemmed wrist watch. Col- 
leen Moore was there with John McCormack. I 
believe, and Barbara Bedford was attended by 
Irvin Willat. Pauline Frederick, who has winged 
many a poor plot to glory with her flashing 
spirit, was in evidence, though they do say that 
Polly is giving up the wicked night life of chop- 
suey and ginger-ale in favor of "the clean and 
wholesome West." 




Anita Stewart and her husband are still romantu 
enough so that they enjoy a Romeo and Juliet scene 
despite the fact that they have been Mr and Mrs. 
Rudolph Cameron for quite some time. 

Maybe it was a sort of farewell- appearance— • 
like Bernhardt's. probably Mabel Normand. 
back from a vacation arid a milk diet, bearing 
proof of both in her glowing cheeks and bubbling 
spirits, was having the time of her life. But 
Mabel is always doing that. 

Thedir.cers. packed onto the floor like colorful, 
iridescent sardine, in a box. were somehow man- 
aging a fox-trot. And one thing about a fox-trot, 
you mov:. We may be "wicked." but the 
"Chicago" hasn't reached us yet. I understand 
it is a sort of wiggly affair that doesn't cover much 
ground but guarantees to keep any l'ttle girl 
from getting chilled. So you see we are terribly 
provincial. One recent ly-arrpved Easterner sug- 
gested that we do the Virginia reel and asked if 
we knew the war was over. 

On a Thursday night, it's the Hollywood Hotel, 
especially now that Elinor Glyn is back to lend 
it an aristocratic touch. She goes in terribly for 
''form." vou know. Nazimova is often seen here 
with husband Charles Bryant, and Betty Blythe 
and sometimes Jack Holt and Bert Lytell. It is 
more sedate, of a quieter tone, with all the mamas 
parked at the ringside pretending not to notice 
when their daughters sl«p outside under the palms 
for a wee stroll 



By the way, I can best describe the life here 
where starshine reigns by quoting Madame Glyn. 
She wrote of our stellar lights in an English 
periodical; "The whole thing is happy-go-lucky. 
Rather, live and let live. The wild people are 
few and far between, and always in the limelight. * 
The rest of the community are kindly, natural 
and hard-working beings, not consciously break- 
ing any laws of convention, but rather living 
lives more as nature suggests, undarkened by 
evil thoughts." Isn't that sweet? 

The Ambassador Cocoanut Grove, an exotic 
place of nodding palms and heady perfumes, is 
the habitat of those flowers of fashion, the Tal- 
madge girls. Gloria Swanson and sometimes May 
Allison and Betty Compson. And such masculine 
attractions as Tommy Meighan and Wallie 
Keid -both of whom, however, have a habit, 
moat annoying to designing flappers, of being 
accompanied by their own wives # 

As to tea-rooms. I've been in at least a million 

and they call me a stay-at-home! They spring 
up like mushrooms, beautiful. Bohemian little 
places, but really homelike when you get to 
"belong." At Betty's "Come-On-Inn" there is an 
"inner circle" of habituees of which Viola Dana 
is boss. Betty's is a clean little blue-and-white 
place, almost as big as a band-box. where you 
feel so chummy and cozy that you hate to leave 
it to go home! The tiny rooms are packed with 
little tables for two and four and china-cabinets 
filled with the quaintest pewter-ware and crock- 
ery. Sometimes the overflow of hungry eaters 
and chatters is tucked awav in the kitchen — but 
everybody is always so jolly about it. 

At Marie's on the Boulevard you get the best 
fifty-cent luncheon in captivity and the snappiest 
waffles you ever tasted since you left your 
mother's kitchen. Here you see most of the 
Lasky "bunch" and staid writers like Walter 
Woods and Byron Morgan. 

Most of the Realart people drive a few blocks 
to "The Gingham Dog and Calico Cat." which 
sounds extremely Bohemian, but isn't. It is a 
very ciean, creamy-toned place, with chummy 
dogs and cat* beaming at you from the walls. 

"The Ship" cafe at Venice, where you sit upon 
the sea and eat fish just plucked from its gardens; 
the Green Mill Gardens, into which you are 
beguiled out of the chilly night by warm little 
green-lighted mills revolving right merrily, and 
where you dance away the wee sma' hours to 
syncopated tunes; and the Cinderella Roof, 
which is most crowded at tea time — one of the 
girls there told me it was because most of the 
stars and business men had to be home for dinner 
and had to take their lady friends out in the day- 
time! 

These. I believe, complete the list of the pop- 
ular shrines of the dance-and-eat god. That's all 
we do here in our spare-time, tourists' reports 
notwithstanding. And we are united in our 
motto Eat. drink and be merry for tomorrow 
ye uor^' 




Page Twenty-six 



PANTOM I ME 



March 4.1922 




JMe and My Kjtchen 



By Rutk Roland 



Editors Note. — One visualizes Ruth Roland, 
be/ore seeing her. as a fine, large type oj girl phys- 
ically (else how could she endure serial after serial 
the stress and strain cf one daring and dangerous 
/eat after another, for the sort of pictures made by 
the "Queen of Serials" demands several thrills to 
every single one of the fifteen episodes). Imagine 
my delig ted surprise, when Ruth invited me out to 
dine one evening recently, to discover in her a dainty 
little maiden, her deep violet eyes shaded by curling 
lashes, her skin without a drop of make-up. and her 
auburn curls piled high on her head. 

It is not easy for a girl to forge her way to the 
top, as Ruth Roland has done, by sheer merit, and 
it is not many years since Ruth started to work for 
the old Western Kalem organization at a salary of 
thirty-five dollars for a week's hard and dangerous 
work. As a child star, Ruth had been widely known 
Qnd she had also had experience loth in stock 
and light opera, but her present position in the 
screen firmament had to be honestly earned. 



She's all business when 
she gets in her kitchen. 

OCCASIONALLY I 
give my chef a holi- 
day, put on a nice, 
snowy cap and apron and 
cook the dinner with my 
own hands. Sometimes I 
have a lot of girl friends as 
my guests. Another time 
it may be several of the 
cow-boys that have acted 
deeds of daring and 
"stunts" before the cam- 
era with me for the past 
decade. 

Every single recipe I'm 
putting down here I can 

81 a ran tee — and as a real 
alifomia or Texas recipe, too. 
Try these sometime — I know you'll like them. 

Spaghetti a la California 

Two pounds round steak, cut in squares and 
fned brown in olive oil. also one or two onions 
fried brown. Add I can tomatoes, salt. 1 tea- 
spoon sugar, pepper to taste and a little allspice 
Boil spaghetti unti tender in salt water. Cook 
•teak in a deep iron frying pan until very tender. 
Remove to hot platter, pour brown sauce over 
(paghetti. Either mushrooms or seeded ripe 
olives may be added to the steak when cooking, 
if desired. 





Chicken Fricassee a la Roland 



Cut 



one or more young chickens in small 
pieces. Dredge with flour and fry brown in deep 
iron skillet (in half butter and half olive oil — as 
all butter burns too readily). When brown 
lemove to a casserole or roaster, add I sliced 
onion and I bell peppe \ 2 cups boiling water 
Bake in slow oven until very tender. The fowl 
may then be lifted on hot platter and either 



There's no suggestion of the dare-devil about Ruth 
in her own home. 



brown or cream gravy made from the drippings. 
If gravy is not liked, the chickens can be baked 
almost dry. 

TEXAS 

(Ruth really discovered this dish in San Antonio. 
Texas -hence her name for It.) 

Two pounds Hamburger steak fried brown in 
olive oil. Add 1 can tomatoes, mushrooms. I 
tablespoon (Gebhardt's Eagle brand) chili pow- 
der. Cook until meat is very tender and sauce 
brown, thicken, serve with spaghetti or beans. 

Ruth's Spanish Beans 

Soak the pink beans over night. Boil about 
twenty minutes next morning, drain that water 
off and add fresh boiling water sufficient to cover 
beans. Next add I can tomatoes. 1 tablespoon 
chili powder (same brand that I use in prepara- 
tion of "Texas"), a clove of garlic. I large sliced 
onion, pepper, salt and a little sugar. Less chili 
powder may be used if beans are liked not quite 
so "hot" as it were. 

Just to "cool off" with, Ruth usually serves her 
famous : 



She believes in 
frequent tasting. 

Fruit and Nut Jello 

Any flavor of gelatine 
or Jello may be used. 
Dissolve one or more pack- 
ages in boiling water, add 
marshmallows. chopped 
nuts and peaches, pine- 
apple, grapes and oranges 
(cut in small pieces). 
Mould. Put on the ice. 
Serve with whipped cream 
flavored with orange. 



An interesting little 
incident in connection 
with my cwn recipes happened not long ago. 
It was the month that my company and I were 
up at Big Creek (in the high Sierra Mountains). 
Some fifteen or more children, whose fathers are 
employed up there in the logging camps, were 
fascinated with everything connected with pic- 
ture-making. 

On Saturdays offers of aid in carrying my 
lunch (if it happened the company had some 
scenes to make up the mountain or down in the 
ravine) were numerous. 

This particular day I had a glass jar. filled with 
fruit salad — pineapple, maraschino cherries, 
cubes of orange and grapes were temptingly 
glimpsed. 

Jimmy, whom I asked to carry the jar for me. 
was. of course, given his share, but he wasn't 
so sure the other kiddies should be "given a 
taste too" (as I had suggested) and hesitatingly 
replied — "Ye-e-s, I reckon so, but I was your 
carrier. Miss Roland." 



Page Twcnty-secen 



PANTOMIME 



March 4, 1922 



Just Rids 




K</f Edward* is fust old enough to 
appreciate that pictures is a serious busi- 
ness and that to succeed you must learn 
the best every one can teach you. and then 
add some of your own. Here the size of 
the chair is the only thing that prevents 
her from duplicating the well-worth-while 
pose of Constance Binney. 

Right— Some children seem to be gifted 
with a prophetic vision. This little tyke 
seems to feel that in having this picture 
taken, that some day the photograph 
would lead her into a tragic situation. 
And it did— for it was a framed photo- 
graph of her that was found on the desk 
of William D. Taylor, when he was so 
foully murdered. Yes. this is Claire 
Windsor, but several years ago. 



Mary Miles M inter is still young 
enough to fet in with the fads, especially 
when she has fallen asleep on the fob tn 
company with Charles Hat ton and Marie 
Treabol. Even "Queenie" has cried quits 
for the time being. We have a sneaking 
suspicion that this picture accounts for 
the pep this quartet shows when in front 
of the camera. 




We're just running this picture to show that there are some young 
men who are not anxious to meet Wanda Hawley. Hobart Shelby 
is the littlest one who seems to have learned early to be distrustful of 
blondes while Junior Coghlan is the reckless one who acts ready to 
take a chance and let fortune bring what it may. 



This is one of those surprise pictures* You might suspect that 
it was a poor little girl who has received a present of a beautiful doll, 
but it isn't at all. The little girl is "Peaches" Jackson, and from 
among everyone on the lot she has selected Thomas Meighan to 
be custodian of "Peaches II" while she is on the set. 



March 4, 1922 



PANTOMIME 



Page Twenty-eight 



Me and My 'Boss 



By Marguerite 



De La Motte 



BUT little is ever said or written about those 
) who have so largely contributed to the 
success of ua players of the silver sheet — 
our managers. We have heard and read much 
about the director and others who have helped 
us in our cinematic careers but for some unac- 
countable reason — perhaps modesty — the 
most important factors in our climb to 
stardom, our mentors, 
have been very sadly ne- 
glected. And all the wh ile 
we .are mov- 
ing upward 



advance me any in a professional way and he 
would far rather have me remain idle than appear 
to a disadvantage in a production. 

This. then, is the man behind the scenes in my 
particular case. And I am surely glad to have 
this opportunity to let the theatre-going 
public know that there is else behind the 
success of a screen player than the per- 
sonality and individual 
ability of us who give but 
scant attention to those 
elements 
which are so 




toward our goal, be 
hind each and even 
one of us sits an all 
wise manager who 
guides us through 
that branch of the 
industry we know 
to little of. the busi- 
ness end. For you 
must know that an 

artiste in motion pictures who has attained any 
degree of success has considerable business to 
transact that requires the attention of a highly 
experienced and capable agent. There are con- 
tracts that must be read and signed, purchases of 
costly wardrobe and properties to be made and a 
publicity campaign to be supervised, to say 
nothing of a multitude of routine tasks which 
must be directed by one that knows the ins and 
outs of the motion picture business. 

1 am indeed fortunate in having a manager, 
mentor and guardian combined in J. L. Frothing- 
ham. the well-known producer, whom I induced 
to handle my affairs following the death of my 
parents two years ago. At that time 1 was but 
sixteen years of age and without any experience 
to speak of in the realm of pictures. True. I had 
done a little professional dancing, but of things 
cinematic. I was totally ignorant. 

Mr. Frothingham was producing a series of 
feature pictures for a large distributing company 
when I asked him to take me under his wing and 
handle my affairs. To this day 1 do not know 
why he consented to my request as 1 was an 
"unknown" without anything to recommend me 
as a potential photoplay star. But he did. and 
despite his numerous duties as a producer, he 
always found time to advise and encourage me 
and to negotiate my professional as well as per- 
sonal business affairs. 

Under the management and through the 
counsel of Mr. Frothingham I rose from a 
player of "bit" parts to my present success. It 
was my manager who secured for me a very 
desirable contract to appear opposite Douglas 
Fairbanks in all of his productions for one year, 
and following the expiration of this agreement it 
was he who accepted and rejected numerous 
offers made by various producers for my services. 
Mr. Frothingham also starred me in a massive 



We asked Marguerite De La Motte to what she 
attributed her successful rise from obscurity to 
leading woman for Douglas Fairbanks. Her 
answer is pictured in the center of three new poses of 
Marguerite herself. 



and spectacular picture of his own— "Shattered 
Idols" — a masterpiece among big productions! 
He loaned me to other producers only after he 
ascertained that the role I was to be given was a 
suitable vehicle for me. I have personally seen 
him turn down a very generous offer for my 
services because he did not believe the part would 



ssential to our suc- 
ess. I am indeed 
appreciative of the 
fact that Marguerite 
Dc La Motte would 
be a far less known 
name in the motion 
picture world had 
it not been for the 
advice, encourage- 
ment and guidance of J. L. Frothingham. 

So many players feel that the success they gain 
under the guidance of anyone is their own by 
divine right. The trouble lies in the fact that 
no matter how great one's ability, or how skillful 
the guidance received, the opening days of the 
fight to gain recognition are discouraging. 



*JftCore V ode lings by Eustace 

(Continued horn Page 9) 

I wuz settin' dere thinkin" 'bout all dis when da 
waiter guy cum roun* agin and asks me wot kinde 
cheese I wants, an' he sez sumpin' 'bout bear or 
breeze an* I sez: "Don't make no diffrunce." not 
want in' him to git wired up dat I didn't know wot 
he wuz talkin' 'bout. So he brung me sum ice- 
cream wot had three colored stripes in it, an' 
sum coffee in a d rink in' glass widout no saucer, 
an' a piece o' cheese wot woulda skairt a mouse 
away -it wuz so all-powerful strong. An' a 
mouse do love his cheese. 

But it didn't ska re me none — I tackled dat 
cheese like it wuz nuttin' new in my life and et it 
rite down — smell an' all. But to tell de truth. I 
liked de ice-cream a heap better. An' den cum 
de bill and I reaches in me pocket fer de double- 
buck note, like a ole timer. 

I don't even look at de bill. I just tosses de 
two-case note on de table, stretches out me legs 
an' says. "Keep de change." 

De waiter looks at me like I wuz a fish. 
"Listen, baby." he says, "dere ain't no change. 
Kick in wid two bits more!" 

An' I has to do it just to square up. 
Some feed — an' some dames — but hereafter 
it's me fer Childs'. 



Will Someone Kindly Fell Us 




Glancing at this actors clutch 
would you call him a former 
Automobile salesman? 



Refusing dictation, was this star 
a former stenographer? 




WILL MOVIE STARS 
EVENTUALLY ACT 
LIKE OPERA STARS? 



March 4, 1922 



PANTOMIME 



Page Thirty 



FANDOM NOTES 



STUDIO JOTTINGS 

By a Staff Correspondent 



QUESTIONS AND ANSWERS 



WHATEVER hit views on prohibition, 
Rodolf Valentino, newly-created Para- 
mount star, feels a certain amount of 
gratitude for the free lunch counters that used to 
exist in New York prior to the eighteenth amend- 
ment. When he was alone, friendless, jobless, 
and hungry in Manhattan, after coming to 
America from Italy, he gradually reached the 
point where he was unable to buy food. At six 
o'clock every night, then, he would stroll down 
Sixth Avenue, dodge into a saloon and. when the 
barkeep wasn't watching, devour a sandwich or 
slice of bologna. Thus did he succeed in keeping 
body and soul together until he found a job. Of 
course, he doesn't need free lunch counters now. 

Thomas Meighan has compiled the following 
rules for the care of children: 

I A cuckoo clock is the best pacifier. 

2. Never try to wash little Johnny's neck- 
unless you have a supply of candy as a "per- 
suader. ' 

3. When children are taken on a pullman car. 
one should always have an encyclopedia handy 
in. order to answer all questions. 

4. When at dinner in a dining car children 
should be given free rein, for any attempt to 
cramp their style is sure to result in trouble. 

5. Never leave children alone on a motion 
picture set if you expect it to remain the same, 

6. When you have guests for dinner be sure 
not to leave the children alone in the nursery, 
for there is sure to be a riot, which will not only 
disturb you, but your friends. 

John Miltern was strolling along the local 
"plage" of Positana. a tiny, but picturesque 
fishing village in Italy, where Mr. Fitzmaurice 
happened to be making some exteriors, when he 
was stopped by a burly individual with merry 
eyes and a glittering smile. 

"Hello." said this gentle-nan in perfectly good 
New York English. "I think I know you." 

Miltern found himself at a loss to place his 
self-styled acquaintance, but the other hastened 
to refresh his memory. 

"I used to have a fruit-stall at the corner of 
Fortv-fourth Street. New York City." he said, 
"and every morning you used to stop with me. 
buy a couple of oranges and pass the time of day." 

"Well, well." said Miltern. shaking hands, 
"this is a small world, isn't it?" 



WHY grow old?" asks Major Jack Allen, 
the Adventure Films star. "I once heard 
of an old chap living in New York who 
started on a trip across the continent to Cali- 
fornia — the land of oranges, raisins and movies. 
On reaching Chicago, he long distance telephoned 
to his wife: 'I feel ten years younger.' From 
Omaha he wired: *I feel fifteen years younger.' 
From Salt Lake City he night lettered: 'I feel 
twenty years younger.' 

"After several days the patient wife received a 
telegram from a friend of her husband's in Los 
Angeles, which said: 'Your husband died this 
morning of infantile paralysis.'" 

Damon and Pythias, David and Jonathan and 
other famous chums of history had their modern 
replicas in Rin-tin-tin, a German police .dog. and a 
tiny horse, both of which are featured in Ben- 
jamin B. Hampton's recently completed produc- 
tion of Zane Grey's "Wildfire." 

The animals became so temperamentally 
attached to each other that when one was not 
on the studio set. the other would refuse to act. 
The horse, a fully formed little stallion, stands 
just twenty-five and one-half inches high and is 
twenty-eight and one-half inches long. He 
weighs only sixty pounds. 

Gloria Swanson's French maid is a barometer 
for dramatic actipn in the Paramount west coast 
studio. Recently when Sam Wood finished 
directing a tense and dramatic scene he turned 
from the camera and found the maid, who under- 
stands very little English, weeping copious tears. 
Now every time Wood "shoots" a scene he looks 
to see what effect it has had on the maid. 

Thomas Meighan's latest Paramount picture. 
"The Proxy Daddy." has been completed at the 
Lasky studio in Hollywood. Leatrice Joy. who 

K" yed one of the four principal roles in Cecil B. 
Mille's "Saturday Night." was Mr. Meighan's 
leading woman. 

Gladys Walton, screen star, escaped serious 
injury by the thickness of a fur coat when a lion 
in the Universal City arena reached through the 
bars, ripping the coat from shoulder to hem with 
one vicious sweep of his barbed paw. 

The star stood at the bars of a training cage. 
The animal is said to have been infuriated to 
attack by the fur coat. Miss Walton was badly 
frightened, but unhurt. 



Qalcium Kisses 

( Continued from page 14 ) 



Of course. I do not favor that waxlike heroine 
who "falls" from man to man — for the simple 
reason that some day directors are going to run 
out of men and then what would they do with 
the poor child? But I do believe there's a -tonic 
in the kiss, judiciously applied, and that many a 
poor film might have been saved had it been 
toned up a bit in this manner. 

Just the other day I saw another offering of 
the purity squad. It was as purifying as a trip 
to the Aloe— but you get more excitement and 
scenery in the Alps. All the loyal husbands— 
who sit upright and breathe deeply during the 
kissing- picture* — were asleep; and the women 
didn't have anything to envy the heroine for. 
So nobody had a good time, not even the poor 
girl herself. 

When the censors ate Hollywood out of a year's 
square meals in ten days recently, the producers 
broached a plan of forming a national censorship 
organization. That would settle many vexatious 
1 problems. For instance, in one state a mother 
may kiss her che-ild and across the border be cut 
out of the film for such unsanitary conduct. 

Such questions as whether Gertie may hold 
lips with her own husband or pick on her best 
friend's would then be settled in the locality in 
which the Board would convene. 



Which would- make things awfully nice and 
quiet for the rest of the country. 

This censorship of osculation has, reached 
abnormal conditions in Japan. A film-husband 
there is never permitted to kiss his wife, as the 

J Japanese officials believe that would tend to 
ower the dignity of that factotum, the Japanese 
husband — he would soon be copying American 
benedicts to the extent of letting his wife talk' 
At the Universal headquarters in Tokio there is, 
safely boxed, a reel of kisses, plucked bodily from 
many films I 

Even Pollyanna, with her perpetual reappear- 
ance and unlimited wardrobe, seldom gets injured 
by a kiss. (She seems to like it. Perhaps she 
is learning at last that girls in real life don't 
struggle when they are kissed — they kiss back.) 

Film-heroines never let their kisses get them 
into trouble from which their wits are unable to 
extricate them. Some one has said that "wise 
virgins nowadays know how to keep their lamps 
trimmed." I believe it. 

A play without a single kiss looks to my mind 
like a cross between Will Rogers and New Orleans 
on a rainy day. Let us have sunshine! What 
do you think about it? It's your opinion that 
counts — not mine. . 



In order to insure (he editors against the inquiry 
being a publicity trick, to win extra mention of some 
particular actor or octree*, all questions must he eigned 
by the writer's name and address. This is for our own 
information and will not be published unless desired. 
In case a personal answer is desired, enclose a self -ad 
dressed, stamped envelope with your question. Persona 
answers will be made the day the query is received. 
Others will be printed as soon as circumstances permit. 

Jolie — Lois Wilson and Clarence Burton are 
the leading players in "Miss Lulu Bett." the 
picturixed version of Zona Gale's novel. 

Vera — The Maude George you ask about is a 
cousin of the well-known stage actress, Grace 
George. 

Fanciful — Ernst Lubitsch is 29. He was born 
in Poland. Originally he was a tailor's appren- 
tice. . His first work on the stage was portraying 
Jewish character parts. He is now the foremost 
director of Europe. His latest picture is "Pha- 
raoh's Wife." This massive historical production 
required the use of 1 12.000 extras. 

Wantono — Alma Tell was the leading woman 
in "The Iron Trail." Betty Carpenter also plays 
an important role as one of the sweethearts. 

Calls — Teddy, the Mack Sennet t dog, is a 
full-blooded mastiff, stands 35 1 2 inches high, 
weighs 122 pounds. He is so intelligent that a 
trainer is not nec e ss a ry to take him through his 
stunts. He is directed exactly like a human being. 

Lilla — Max Figman is in the cast of "Kiki" at 
the Belasco Theatre. New York City. 

Harry— Henry Walthall has been called "The 
Mansfield of the Screen." He has recently 
returned to the screen after an extended tour 
in stage productions. He will have the leading 
role in "One Clear Call." 

Owl— Betty Compson is one of the Lady Bab- 
bies of "Little Minister" fame to be seen on the 
screen. She is charming in the role. too. She is 
so satisfying that I have no desire to see the other 
Lady Babbie. "The Two Orphans" and "Or- 
phans of the Storm" are the same. When the 
picture was released it became "Orphans of the 
Storm." 

College Girls — "If Winter Comes" is soon to 
be filmed by Paramount. James Kirkwood will 
play the leading role. 

Becker — "Lorn a Doone" is well under way. 
Many of the scenes have been shot and the cast 
has already been selected. The noted dramatic 
star of both the silent and spoken drama. Frank 
Keenan. has been csst for the role of Sir Ens or 
Doone. Madge Bellamy will play the part of 
Loma. and John Bowers will impersonate John 
Ridd 

Admirer — Jack Mulhall was married very 
recently to Evelyn Winans. a motion picture 
actress. His first wife was Bertha VuiUott. a 
Parisian beauty, who died shortly after their 
marriage. Both Mr. and Mrs. Mulhall will con- 
tinue their screen work after a brief honeymoon. 
So you liked him in "Molly 0"> 1 did too. 

Lily an — I can always depend on you for a good 
letter, and they are not so far between either. 
Yes. I have heard that nowadays it is quite the 
correct thing to wear a divorce ring over the 
wedding ring. Black pearls are dc rigeur. Gloria 
Hope has red hair and very blue eyes. She is 
married. wmmmm ^ mmm 

Clover — Catherine Calvert is very beautiful. 
She is sharing honors with Otis Skinner in the 
1 banes play. 'Blood and Sand." 

Alma — Pearl White has been married twice. 
However, at the present time she is unattached. 
Katherine MacDonald's newest picture will be 
called "Domestic Relations." 

Isabella Mott — I have not heard of Grace 
Cunard lately. I do not know whether or not 
she is making a picture. 



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